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7343
, C. 53
A N C I E N T C H IN E S E PAINT IN GS
SCULPTURES AND J A DE OBJECTS
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68
No.

T H E A R T IN S T IT U T E O F C H I C A G O
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CAT A L'O G U E
OF A LOAN EXHIBITION OF
A NCIENT C H IN ESE PAINTINGS
FROM THE COLLECTION FORMED BY
CHARLES LANG FREER
AND GIVEN BY HIM TO THE NATION
THROUGH
The Smithsonian Institution
COMPILED BY
FREDERICK WILLIAM GOOKIN
EXHIBITION
NOVEMBER 15 TO DECEMBER 8
1917
PREFACE
The objects comprising this exhibition are a part of the munificent
gift to the nation made by Mr. Charles L. Freer, of Detroit, Michigan,
the history of which is, briefly, as follows:
In 1904 Mr. Freer transmitted to the Smithsonian Institution
an offer to bequeath or make present conveyance of title to his ex-
tensive art collections to the Institution or the United States Govern-
ment, and to furnish the means for erecting, after his death, a suitable
building to receive them. In his communication Mr. Freer explained
that— -
These several collections include specimens of very widely separated periods
of artistic development, beginning before the birth of Christ and ending to-day.
No attempt has been made to secure specimens from unsympathetic sources, my
Collecting having been confined to American and Asiatic schools. My great desire
has been to unite modern work with masterpieces of certain periods of high civiliza-
tion harmonious in Spiritual and physical suggestion, having the power to broaden
esthetic culture and the grace to elevate the human mind.
These collections I desire to retain during my life for the enjoyment of students,
my friends and myself, and for the further purpose of making additions and im-
provements from time to time. Believing that good models only should be used
in artistic instruction, I wish to continue my censorship, aided by the best expert
advice, and remove every undesirable article, and add in the future whatever I
can obtain of like harmonious standard quality.
This generous proposition was accepted by the Board of Regents
of the Institution at their annual meeting on January 24, 1906, in the
following terms:
The Board of Regents, recognizing the great value to the people of the United
States of the art collection so generously offered by Mr. Charles L. Freer, of
Detroit, Michigan.
Resolved, That the Board of Regents of the Smithsonian Institution do hereby
accept the tender of Mr. Freer to make present conveyance to the Institution of the
title to his art collection, and to bequeath to the Institution the sum of $500,000
for the construction of a fireproof building in which to house it, under the terms
a.S sº º communication to the President of the United States dated Decem-
ber 15, 1905. -
Among the provisions of the conveyance, it was stipulated that
the sum of money to be bequeathed shall be used in the construction
and equipment of a fireproof building connected with the National
Museum or reasonably near thereto, according to plans and Specifica-
tions to be agreed upon; that the building be used exclusively for
storing and exhibiting the objects comprised in the gift; that pro-
vision be made for the convenience of students and others desirous
3
|
of an opportunity for uninterrupted study of the objects embraced
in the collection; that space be provided in which Whistler’s Peacock
Room shall be re-erected, and that no charge be made for admission
to the building or for the privilege of examining or studying the objects
it contains.
The original collection conveyed by a deed of gift on May 5, 1906,
comprised about 2,250 objects, but the additions since made have
increased the number to above 6,000. Seven American artists are
represented by over 1,000 examples, more than four-fifths of which
are the work of James McNeill Whistler. The oriental part of the
Collection consists of Chinese and Japanese paintings in screens,
panels, kakemono, makimono, and albums; of pottery chiefly from
Japan, Korea, China, Mesopotamia, Persia, and Egypt; of Egyptian
glass; and of figures, statuettes, sculpture, mirrors, boxes, etc., in
bronze, stone, wood, and lacquer. The special exhibition to which
this catalogue relates comprises only 117 of these objects.
As the collection expanded, Mr. Freer became so deeply interested
in its housing in Washington that he decided to anticipate the time
of the erection of the building, and he employed the architect, Mr.
Charles A. Platt, to make carefully studied plans. In 1915 these plans
having been fully matured and approved by the Government he gave
The Smithsonian Institution $1,000,000 for the erection of the build-
ing on a selected site near The National Museum, and construction is
now under way.
INTRODUCTION
Although the fame of the master painters of ancient China is
recorded in many volumes written by authors who were either com-
temporaries of the artists or who lived while a considerable number
of their paintings could be seen, it was supposed until within a very
few years past that only in Japan had any of these pictures been pre-
served to our time. Local conditions, it was thought, had made their
preservation virtually impossible. Attempts to keep them in the
South meant certain destruction by mildew or white ants. In the
North the peril from mildew though lessened was never absent; and
besides the ordinary vicissitudes, by no means negligible in the course
of from six to fifteen centuries, the ravages of warring factions and of
a succession of Turkish and Mongol Conquerors have been sweepingly
destructive. The discovery therefore of unsuspected treasures in the
hands of collectors by whom they were most carefully and zealously
guarded, came with the force of a revelation.
How great is this revelation only a few special students have as yet
been privileged to know. This exhibition, however, should enable a
much wider circle to form a realizing Conception of the heights to
which the old Chinese artists attained, and to appreciate something
of the debt of gratitude which the people of the United States owe
to Mr. Freer. Not only did he from the first have keen perception of
the artistic value of the paintings, many of which were brought to
light through his efforts, but he saw that the upheaval in China
attendant upon the downfall of the Manchu dynasty afforded an
unique opportunity to acquire works which their owners under
ordinary circumstances could not be induced to sell, and of this he
was quick to take advantage. We are indebted to him, therefore,
for his truly splendid gift to the nation, and also for the knowledge
and discernment that enabled him to acquire the treasures that it
comprises.
The pictures shown in the present exhibition are only a few out of
the much greater number of important works included in the Freer
collection. In selecting them the aim has been to show examples of
the styles of as many noted artists as possible while keeping the
exhibition harmonious throughout. The sculptures and jade objects
have been added to show something of the work of Chinese artists,
and of the riches of the collection, in fields other than painting.
The inclusion in the exhibition of a few paintings which may be
ancient copies instead of Original works calls, perhaps, for explanation.
5
Despite the more abundant material for study that has been made
available within the last decade, our knowledge of authentic works
of the early Chinese painters is still so limited that the most com-
petent judges often hesitate to make more than tentative pronounce-
ments either in regard to attributions or to their ability certainly to
distinguish original works from copies. From early Chinese writers
we know that it was not uncommon for distinguished artists to copy
paintings by masters of still more ancient times. Some of these
copies were made for the purpose of study. Not infrequently the
copyist made slight variations, introducing a creative element of
his own in an endeavor to improve upon the original conception, and
such efforts were sometimes highly esteemed by connoisseurs. Other
copies called by the Chinese fang pi i ſã ºf £, which is to say “imita-
ting the intention of the brush,” were made with the utmost care in
an effort to preserve so far as possible “the spirit” of master works
which were vanishing as time went on, through the fading and dis-
integration of the pigments, and the gradual, darkening and decay
of the fabrics upon which they had been applied. Sometimes these
copies, in turn grown old, were recopied. In this work the Ming
painters seem to have been especially active, often making several
replicas of celebrated pictures, probably at the request of as many
different patrons.
It is because such copies were often imbued with artistic merit of
high order that their identification is so difficult. In trying to de-
cide whether a painting is an original work or not, connoisseurs pay
close attention to the character and condition of the silk or paper
upon which it is painted, and of the pigments used, and to other Con-
siderations calling for minute archaeological knowledge. When ori-
ginal works of undoubted authenticity exist, great weight is of course
given to individual characteristics which they reveal, more especially
as it is shown in brush strokes and peculiarities of handling. In some
instances impressions of owners’ seals are helpful, as for example,
when the owners were Emperors who were contemporaries of the
artists. Only occasionally are signatures found upon which it is safe
to place reliance. The custom of signing pictures did not come into
vogue until Some time during the Sung period, and even then it never
became a general usage. And in the Ming period it was not uncom-
mon for paintings preserved in Imperial collections to have the names
of the putative artists appended in the guise of signatures.
From all this it will be perceived that it may not be quite easy to
determine whether a painting, as for instance, a work of ravishing
beauty and power, masterly in technique, and marked by the tre-
mendous vigor and bigness of feeling that characterized the art of the
T'ang period, is what it seems, or is a copy made some hundreds of
years later by an eminent painter of the Sung period. Greater
6
certitude may be possible when there has been more ample time to
study all of the ancient Chinese pictures now known to be extant or
which may yet come to light. Meanwhile what reason can there
be why we should not accept such a painting at its face value as a work
of art and be profoundly thankful that, whether it be an original work
or a wonderful copy, we are privileged to view it?
Within the limits of this introduction only the most cursory survey
of the history of Chinese pictorial art can be attempted.
The recovery by Sir Aurel Stein from the refuse heaps of ancient
military posts in the Taklamakan desert of written inscriptions
dating back to the first century A.D., show that even at that early
period the Chinese were consummate masters of the brush. Bronze
vessels of still earlier periods bear witness to artistic perception and
skill of high order. Aside from these vessels and the pottery of the
Han period, very little survives by which we may gather an idea of
Chinese art prior to the seventh century. The most noteworthy ex-
ceptions are rare jade objects such as those here exhibited, and two
paintings attributed to the famous fourth century master Ku K’ai-
chih, one of which is now in the British Museum and the other,
recently owned by the most noted Chinese collector of modern times,
is now in the Freer Collection and is included in the present exhibition.
Buddhism brought to China a great emotional awakening, which,
in the centuries of the T'ang dynasty (A.D. 618-906) bore abundant
fruit in art works of marvelous power. Of the achievements of the
great artists of this period, one of whom, Wu Tao-tzú, is the most
celebrated master in the annals of China, we have glowing accounts in
the pages of Chinese historians and art critics. In Japan it has been
possible to See a few paintings attributed to Some of these masters;
and a few stone sculptures and other works of the period have been
known. But now for the first time is it possible to form a conception
of what T'ang art really was. Doubtless the conception is still very
hazy. It is perhaps founded almost wholly upon copies instead
of original works; the age is a remote one, and excess of caution is the
safest mental attitude for the enquirer. It may to some extent be
based upon works wrongly attributed to the period. Nevertheless
we may fairly say that the salient characteristics of T'ang style can
now be grasped, and that we have enough evidence of its spirit, its
magnificent spacing, and tremendous vitality, to leave no room for
doubt that it represents one of the greatest creative periods in human
experience. - -
Of the art of the Sung period (A.D. 960–1279) our knowledge is
much wider. Not only have many more paintings executed during
that time been preserved to our day; they are also, as we should expect,
much better authenticated. They show us clearly that Sung art
though closely akin to that of the early age was animated by a dif-
7
ferent feeling. It was an art dominated by the philosophic thought
of Chan jī Buddhism. This philosophy, which lays especial
emphasis upon meditation as the means through which alone can
spiritual enlightenment be attained, was brought from India in the
sixth century by Bodhidharma, the first Patriarch in China of the
Chan T'Sung # 3 or Chan sect, which is known in Japan as the
Zen sect. Gradually overspreading the land, by the tenth century
it had become a controlling influence in much of the intellectual life
of the time. The cult of nature-mysticism inherited from the Indian
Buddhists, which it included, led to a passionate love for landscape,
and especially to a deep feeling for the tranquil beauty of nature, its
opposition to and its “transcendence over the incidents of human life.”
Out of this feeling came an imaginative and poetic art of exalted re-
finement such as the world has never known either before or since;
an art of profound insight into nature's moods, of delicate imagery and
subtle suggestion, of extreme reserve, and of Supreme technical ac-
complishment within its self-imposed limits. It was an art of form
rather than of Color, of noble spacing, and rhythmic line; an art
appealing with equal insistence to the aesthetic sense and to the
intellect.
What may be called the Golden Age of Chinese Art was a period of
approximately six hundred years, beginning in the seventh century
and lasting until the break-up of the Sung dynasty in the thirteenth.
Thenceforward the history of pictorial art in China is a record of
steadily waning performance. The spiritual illumination that made
the Sung epoch so resplendent, projected some of its radiance over
the Yüan period which followed, but by the time of the Ming emperors
it had so nearly died out that only in the work of a few artists more
highly gifted than their fellows did occasional flashes of it appear.
Though the outward forms were retained, for the most part they
became only barren conventions devoid of the poetic vision by which
the earlier works were inspired. -
That the surviving remnants of the art of the T'ang and Sung
periods constitute one of the most precious heritages that the world
possesses will not be questioned by any one who has learned to read
the message that these great works hold for us. All that is needed is
that we frankly accept their conventions, however widely they may
differ from those of Western art, and that we disabuse our minds of the
notion that realistic representation as such has anything to do with
art. Then may we perceive that we are in the presence of art works
of the purest and highest order; works in which visible things have
been transmuted into ideas, and in which all unessentials have been
deliberately eliminated that the quintessential may be emphasized.
And the quintessential is ever the harmonic relation that is the basis
of all beauty and all poetry.
8
CHRONOLOGICAL LIST OF CHINESE
\
DYNASTIES
Shang. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B.C. 1766–1122
Chou. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B.C. 1122– 255
Ch'in. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . • * * * * * * * * * * B.C. 255– 209
Han. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B.C. 206—A.D. 221
ſº (Nº. Chin. . . . . . . . . . . . A.D. 221–317
Eastern Chin. . . . . . . . . . . . . . A.D. 317–420
Liu Sung.. . . . . . . . . . . . . . . . . A.D. 420– 479
The Six Dynasties . Liang. . . . . . . . . . . . . . . . . . . . A.D. 502– 556
A.D. 221–617 | Southern Ch'i. . . . . . . . . . . . . A.D. 479– 501
Northern Ch'i. . . . . . . . . . . . . A.D. 550– 557
Ch'en. . . . . . . . . . . . . . . . . . . . A.D. 557–589
V Sui. . . . . . . . . . . . . . . . . . . . . . . A.D. 590– 617
In the period known as that of “the Six Dy-
nasties,” China was divided into several kingdoms
which were often in conflict with one another.
Among the dynasties whose “emperors” reigned
over smaller sections of the country during this
period were:
Shu Han. . . . . . . . . . . . . . . . . . A.D. 221— 263
Seated in what is now
Szechuan . . . . . . . . . . . . . .
Northern Wei. . . . . . . . . . . . . A.D. 386— 532
T'ang. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A.D. 618–906
The Five Dynasties . . . . . . . . . . . . . . . . . . . . . . . . . . . . A.D. 907–960
Sung. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A.D. 960–1279
Yüan (Mongol). . . . . . . • * * * * * * * • * * * * * * * * * * * * * * * * A.D. 1280–1367
Ming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A.D. 1368–1643
Ch'ing (Manchu). . . . . . . . . . . . . . . . . . . . . • . . . . . . . . A.D. 1644–1911
NOTE ON THE PRONUNCIATION AND TRANS-
LITERATION OF CHINESE NAMES -
China is a country of many dialects. Pronunciation varies so
greatly in different sections that there cannot be said to be any widely
recognized standard. In pronouncing transliterated names, however,
if the vowels are sounded as in Italian and the consonants as in Eng-
lish, the result while not quite accurate, will not be far out of the way.
Each vowel should be sounded separately; there are no diphthongs.
The inverted apostrophe indicates an aspirate. S following h, as
in hsia, is an interpolated sound, most common in the Peking dialect
and not forming a necessary part of the syllable which is more properly
pronounced hia or zia. -
The Romanized spelling of the Peking dialect has been used in
this catalogue instead of the Mandarin dialect, which would or-
dinarily be preferable,_ as being, perhaps, more convenient for
readers who may wish to consult such works as Giles’ “Chinese
Biographical Dictionary” and his “Introduction to the History of
Chinese Pictorial Art” in which it is also used.
The reason for giving the artists’ names in Chinese characters as
well as in Roman letters, is to facilitate exact identification. In
Chinese there are many words that are pronounced alike, but written
with different ideographs. Each Chinese character has only one
meaning; the sound it represents may mean many different things.
Similarly several artists may have had what in sound is the same
name; yet no two of them may have used the same characters in writ-
ing their names.
IO
CATALOGUE
PAINTINGS
The attribution of these paintings to the artists whose names are
appended, represent the views of Chinese collectors and connoisseurs.
Some of the attributions appear to be well authenticatcd; others are
more open to question. They are cited here without any attempt
to pass upon their validity, our present knowledge of the works of
the Chinese old masters being too limited to warrant the forming of
other than tentative opinions. -
1. ILLUSTRATION OF A POEM BY TSAO-CHIH.
Makimono, or scroll painting, on silk, in ink and colors. Unsigned. Length
122%”; width 956”.
ATTRIBUTED TO KU KAI-CHIH. Chin dynasty.
Ku Kai-chih ºff tº z, called by the Japanese Ko-gai-shi, lived
in the fourth and fifth centuries A.D. His renown was very great, and
many tales about him and comments upon his works are found in the
writings of Chinese authors. He is first heard of in the year 364 when
he put his name down for one million cash as his subscription to a
Buddhist monastery. This he made good by painting a picture of
the Arhat Vimalakirti on one of the walls, which filled the monastery
with such a glory that crowds of delighted visitors soon made up the
promised sum. Most of the early critics gave him high praise. One
of them said that “his portraits were remarkable for their depth and
spirituality; and whereas other artists of his day excelled him in flesh
and bone, i.e., in anatomical correctness, he surpassed them all in
expression.” This opinion was not shared by Hsieh Ho, the formula-
tor of the famous Six Canons of Art. Writing about a century after
Ku K'ai-chih's time, he said of him: “He excelled in fineness of detail,
and never made a false stroke; but his execution fell short of his con-
ception, and his reputation is beyond his merits.” Notwithstanding
this pronouncement, his paintings were highly esteemed in after
years. In the Hsian ho hua p'u, which was written in the twelfth cen-
tury, the titles of nine of his pictures, then in the Imperial collection,
are given, and among them the roll entitled “Admonitions of the
Instructress of the Palace,” now in the British Museum, is mentioned.
His style was still known and his works were revered a thousand years
after his day. T'ang Hou of the Yüan dynasty wrote about him in
II
the Hua chien: “Ku K'ai-chih painted pictures as a silk-worm spins
silk. At first sight the pictures seem flat and occasionally wanting
in resemblance, but a closer inspection shows that the Six Canons are
all observed.”
This roll, which illustrates a poem, Lo-shen # jiā Şā, written by
Ts'ao-chih # # (A.D. 192–232), was formerly in the famous collec-
tion of the late Tuan Fang, Viceroy of Chihli. Though attributed
to Ku K'ai-chih, Mr. Freer regards it as more probably a copy made
after that artist's original design by some painter of the T'ang dynasty
who fully carried out the style of the early master. It is accompanied
by manuscript testimonials, the first of which was written by Tung
Ch'i-ch'ang, who has been called the foremost artist of the Ming
dynasty, and has a high reputation as a connoisseur of works by the
masters of earlier times. In this manuscript, says Mr. Ma Soo, he
states that this painting was at one time in the possession of Li
Kung-lin (otherwise known as Li Lung-mien), and that both it and
the roll entitled “The Han She Lady” (which Mr. Ma identifies as
the one now owned by the British Museum that is mentioned above)
are genuine works by Ku K'ai-chih. -
2. TWO WOMEN MINSTRELS STANDING, ONE HOLDING
A FAN, THE OTHER PLAYING A FLAGEOLET.
Painting, on silk, in colors. Unsigned. Height 61%"; width 33”.
ATTRIBUTED TO CHANG KUEI. Chin dynasty.
The attribution to a painter of the Chin dynasty (A.D. 221–420) is
made upon a label which was attached to the former Chinesemounting,
and is now placed upon the back of the panel. The painting is
probably a copy made long after the Chin period. No biographical
information about Chang Kuei £ # is available.
3. KUAN-YIN WITH A BASKET CONTAINING FISH.
Painting, on silk, in ink and colors. Unsigned. Height 55%”; width 29%”.
ATTRIBUTED TO CHANG SENG-YU. Liang dynasty.
Chang Seng-yu # ſh; # was an artist of the Liang dynasty
(A.D. 502–556), held in the highest esteem by his contemporaries and
by Chinese critics down to our time. As to the force and originality
of his work there are no dissenting voices. Instead we have such
glowing phrases as “His ideas gush forth like a flowing spring urged
by some unseen power; and with one or two strokes of the brush,
realization is achieved.” Although many tales attributing to him
miraculous skill have come down to us, these are not accompanied by
much reliable biographical information, the chief item being that
about A.D. 510 he was employed as keeper of the pictures under one
I 2
of the Imperial princes. This picture is probably an early copy of one
of his works, but made after his time. -
Kuan-yin is the Chinese name for the Bodhisatva Avalokitegvara
of Buddhist mythology, who is known to the Japanese as Kwannon.
His name signifies the “looking down” (Sanskrit avalokita) “lord”
(isvara). Being regarded as “the All-pitying One” and as the
personification of power, he is the mostpopular divinity in the pantheon
of the Mahāyāna or later development of Buddhism.
4. LUXURIANT FORESTS AND DISTANT MOUNTAINS.
Painting, on paper, in ink. Unsigned. Height 64%”; width 42%".
ATTRIBUTED TO LI SHAN. Tang dynasty.
- The attribution to Li Shan Žs III, an artist of the T'ang dynasty,
about whom no biographical information is available, is made by
Hsü Ling, a scholar living in Shanghai, who, says Mr. Ma, is re-
garded as an “art critic of great merit.” The title of the picture is
that given to it by him. His certificate states that “there were
three artists named Li Shan. One, who lived during the Chin
dynasty, was a painter of little merit, Consequently this picture can-
not be by him: nor can it be by Li Shan of the K'ang-hsi period, for
that artist painted with his fingers only, whereas this picture is done
with a brush. It must, therefore be attributed to Li Shan of the
T'ang dynasty.” But, from the accompanying label now attached
to the back of the panel, it appears no more is claimed than that the
picture shows “genuine traces” (chen chi jí š) of his work.
5. PORTRAIT OF A LADY. .
Painting, on silk, in colors. Unsigned. Height 51’’; width 29.3%".
ATTRIBUTED TO YEN LI–PEN. T'ang Dynasty.
Yen Li-pen #| Yr As was one of the most distinguished of the
Court painters of the first century of the T'ang dynasty. In Japan
he is known as En-ryū-hon. His elder brother Yen Li-te, also one of
the noted artists of his day, was in A.D. 630 preferred to high office
in the State. Friedrich Hirth tells us in “Scraps from a Collector’s
Note Book,” that Yen Li-pen, who was “Li-te's locum tenens
as Minister of Public Works about A.D. 656, rose to be Under-
secretary of State and a baron of the Empire in 658 and minister
of the Cabinet (nei-ko) in 670. More brilliant even than his career
was the reputation he earned as an artist, both in Calligraphy and
painting. He is considered by far the first colorist of his time, and
had probably the principal share in a celebrated picture representing
foreign national types, painted conjointly with his brother. He
painted very numerous portraits and Scenes of life in Scrolls and as
I3
wall pictures preserved in temples. Besides the lessons received from
his father, Li-pen looked upon Cheng Fa-shi, the imitator of Chang
Seng-yu, as his instructor, but he far surpassed him. The Emperor
Hui Tsung's Gallery contained forty-two of his pictures, including
several representations of foreign life and a number of portraits,
whereas Li-te is represented by nine titles only, one of which reads
“Wang Hi-chi (the great Calligraphist) pointing his brush.”
Further biographical details about Yen Li-pen are given by
Giles in his “Introduction to the History of Chinese Pictorial Art.”
“By A.D. 668 he had risen to the highest rank. One day when the
Emperor was amusing himself in his park, he saw a strange and
beautiful bird, and was so much interested that he bade Yen paint
a picture of it. Yen was forthwith dubbed ‘the Painter’ and went
home in a rage, and said to his son, “Here am I, a not altogether un-
successful student of literature, who can only come to the front as a
painter, as if I were a menial. Take care that you do not give way to
a hobby of that kind.” Nevertheless he was a very prolific artist.
He painted portraits of ‘the Eighteen Scholars,’ and also of a
number of ‘meritorious officials’ for the Imperial galleries and gained
the sobriquet of the ‘color magician.” It is further stated that he, too,
painted many of the foreigners who brought tribute to the Court upon
the establishment of the Empire and his treatment of human figures,
hats, robes, chariots, etc., was considered to be exceptionally fine.”
6. TALL BLACK VASE AND FLOWERS.
Painting, on silk in colors. Signed. Height 3334”; width 24%”.
. ATTRIBUTED TO YEN LI-PEN.
What purports to be a signature at the lower left reads “Presented
respectfully to the Emperor. (Signed) Yen Li-pen.” Since it was not
customary in the T'ang period to sign paintings, this inscription is
undoubtedly a recent addition.
7. AN EMPEROR SEATED IN A GARDEN AND ATTENT) ED
BY SEVEN LADIES. EIGHT IMPERIAL OFFICERS
ALSO APPEAR AND THREE OFFENDERS.
Makimono, or scroll painting on silk, in ink and rich colors. Unsigned.
Length 82%”; width 14%”.
ATTRIBUTED TO YEN LI-PEN.
A seal impressed in the upper right-hand corner reads, “The
seal of Chia Ch'ing for examining pictures.” The Emperor Chia
Ch'ing reigned from 1796 to 1821. Another of his seals and a seal of
the Emperor Hui Tsung (reigned A.D. 1100–1126) are impressed in the
upper left-hand corner. The first of several certificates attached to
I4.

the picture reads as translated by Mr. Roland Cheng: “Chung
Nien-yüan's the ‘Painting of Tang.” He has spoken brightly about
this representation of the ‘Story of Refusing Censor's Reprovement.’
But I never saw the real picture until Kung Yu showed me this piece.
Liu Chung belonged to a race of northern remote China, thus his
companions have rather different countenances. Their spirit was
well represented on their faces by the painter. The censors Chen
Chu-kou and Chan Shu-tai had to reprove and advise the king in
spite of the fact that the latter ordered his body-guards to kill them.
That is a good lesson for censors. Now the present ruler does not
realize the danger of the country; is there any such censor to be
found in the present time? If so, we people are glad to have them.
(Signed) Wang Chi-tou, Chung An-chu.”
The last certificate, also translated by Mr. Cheng reads: “I
saw this picture in the Aue-chou year of Wan-li (1573–1607) in my
friend Wu Kou Yu's, Yüan Tai office Nanking. (Signed) Han Feng
Shi.”
8. STILL LIFE, INCLUDING LARGE BLUE GLOBULAR
VASE, BRONZE INCENSE BURNER, AND LOW RED
DISH OF FLOWERS AND FRUIT.
Painting, on silk, in colors. Signed. Height 25"; width 21%”.
ATTRIBUTED TO YEN LI-TE. T'ang dynasty.
Yen Li-te # ºr #, known to the Japanese as En-ryū-toku, was
the elder brother of Yen Li-pen. Like him he was a high official
and also a painter of distinction, though accounted the lesser light
of the two. A Chinese critic said of him that he was especially noted
for his pictures “of the people of the strange countries, and of Such-
like weird and uncanny subjects, in which, since the Liang and Wei
dynasties no one has surpassed him.”
The signature which appears at the left is a forgery added long
after the painting was executed. Upon the picture are impressions
of two imperial Sung seals.
9. STILL LIFE, INCLUDING LARGE BLUE VASE OF
FLOWERS, TWO POTTERY JARS, SEVERAL SCROLLS
AND A LOW RED DISH OF FIRUIT.
Painting, on silk, in colors. Signed. Height 35%”; width 23”.
ATTRIBUTED TO YEN LI-TE.
The signature at the left edge was added by another hand, long
after the picture was painted. Certificates and a label which was
attached to the former Chinese mounting attribute the painting to
Yen Li-te.
I5
10. THE KUAN-YIN OF SUSTENANCE AND TWO CHILDREN
ON CLOUDS.
Painting on silk, in colors. Unsigned. Height 69%"; width 29”.
ARTIST UNKNOWN. PROBABLY BY A SUNG MAS-
TER AFTER A DESIGN BY WU TAO-TZU. T'ang
dynasty.
Wu Tao-yiian 5: # jū, better known by his literary name Wu
Tao-tzú 5& # ºf and called by the Japanese Godoshi, was not only
the foremost of the T'ang artists, by themselves a notable group, but
he stands by universal consent, at the head of all Chinese painters,
ancient and modern. The Chinese call him “the Prince of Painters
of all Generations.” He was born near the capital, which was then at
Lo-yang in the province of Honan. Though in his childhood he
was “a poverty-stricken orphan,” his genius asserted itself so early
that while yet a lad he was reputed “already a master artist.”
Reports of his amazing skill having reached the ears of the Emperor
Hsüan Tsung (A.D. 713–762), that monarch, who is famous as a patron
of the arts, gave him a place at Court and later appointed him im-
perial artist-in-chief. He was primarily a figure-painter and especially
a painter of Buddhist figures, but is also renowned for his landscapes.
His works were conceived in a grand style, and were imbued with
astonishing bigness of feeling. Fenollosa, who does not hesitate to
call him “one of the very greatest of the line masters of the world,”
says “there is a certain primal and universal energy in his design
which has hardly been surpassed in the whole range of the world’s
art.”
The high esteem in which the works of Wu Tao-tzú were held
led to copies of many of them being made by artists of later
generations, among whom it is probable were some of the eminent
masters who lived during the Sung dynasty; and as time went on,
copies of these copies were also made in an effort to preserve as
far as possible the spirit and character of the originals. Although
we know his art chiefly through these attenuations, nevertheless
Fenollosa felt himself justified in saying that “it may almost
be declared to be the world's Supreme type in grandeur of delinea-
tion.”
To this picture of “the Kuan-yin of Sustenance” Fenollosa
devotes three pages in his “Epochs of Chinese and Japanese Art”
(vol. I, pp. 132–134) and he gives his reasons for thinking that
the basket containing the great fish, which he calls “the symbol
of spiritual sustenance,” was not in the original painting by Wu
Tao-tzü, but is an addition by the Sung master who made the
COpy.
I6
11. PORTRAIT OF THE EMPEROR CHAO-LIEH OF THE
SHU HAN DYNASTY, BETTER KNOWN AS LIUPEI.
Painting, on silk, in colors. Unsigned. Height 57"; width 325%".
ATTRIBUTED TO WU TAO-TZU.
The attribution is made by the famous scholar, poet and calli-
grapher Wang Wen-chi =E 3: # (1730–1802), who, in a testimonial
dated in 1787 now attached to the back of the panel, states when and
how he saw the picture for the first time.
The Emperor Chao-lieh (A.D. 162–223), better known as Liu Pei
#|ſi, was the founder of the Shu Han or Minor Han dynasty, and is
famous as a hero, having been left in extreme poverty when a lad by
the death of his father, and in spite of this handicap having attained
the throne through his own efforts. His reign, however, lasted only
for a year, and neither he nor his son and successor was able to bring
more than a part of the Empire under his sway. Like many of the
heroes of antiquity he is reputed to have been a giant in stature.
12. SNOW SCENE IN THE MOUNTAINS IN SZECHUAN.
Painting, on silk, in ink. Height 7334”; width 38”.
ARTIST UNESNOWN. PROBABLY A COPY BY AN EARLY
SUNG PAINTER OF AN ORIGINAL WORK BY WANG
WEI. T'ang dynasty.
On the lower edge at the left appear what purport to be the
signature and an impression of the Seal of the celebrated T'ang poet
and painter Wang Wei, but, although the painting represents Wang
Wei's technique, it is doubtless a copy by an early Sung painter, and
the signature and seal appear to have been applied much later by
some unauthorized person.
Wang Wei H. #, famous as a poet and also famous as one of
the greatest of the T'ang painters, was born in A.D. 699. To the
Japanese he is known as Omakitsu Oi. Entering into public life
he rose to high office. Giles tells us that “he was carried off by
the great rebel of the day; and on the latter's death, he had some
trouble to save himself from the hands of the executioner. He
finally retired to a country house, and ended his days at the age of
sixty in the enjoyment of such pleasures as may be derived from
poetry, painting, and music, and with Such consolations as may be
afforded by the Buddhist religion, in which he had always been a
firm believer. We are told that his pictures were full of thought and
rivaled even Nature herself; also that his ideas transcended the
bounds of mortality. He is chiefly remembered as a landscape
painter.” Fenollosa calls him “the great landscape poet of the day.”
He was the originator of a new and highly conventional style of land-
scape, executed with rather hard brush strokes.
I7
13. THE LO-HAN (ARHAT) NAGASENA.
Painting, on paper in colors. Height 4034”; width 23%”.
ATTRIBUTED TO YANG TING-KUANG. T'ang dynasty.
Yang T'ing-kuang # F# jº, was a painter who excelled in
Buddhistic pictures painted very much after the style of Wu Tao-
tzú of whom he was a contemporary. At one temple he painted
a picture of Samantabhadra with such success that rumor said “his
brush was tipped with a sharira (relic) which came down from heaven
for the purpose.” “About 750, at an assembly, Yang Secretly made
a sketch of Wu Tao-tsii; and when the latter saw it, he exclaimed in
horror, ‘I am old and ugly; why take such a portrait?” He then
sighed and admitted that his days of superiority were over.” Com-
menting upon this incident, Giles remarks, “We might sympathize
more with the veteran artist in his fall but for the recorded fact that
when another contemporary, Huang Chen, showed great promise and
appeared likely to contest the headship, ‘Wu hired men to assassinate
him.’” &
The Sanskrit word Arhat, which means “venerable,” and its
equivalents Lo-han, in Chinese, and Rakan, in Japanese, are used to
designate disciples of Buddha who have reached the stage of complete
emancipation from worldly desire.
14. TWO VILLAGE MUSICIANS.
Painting, on silk, in colors. Unsigned. Height 32”; width 16%”.
ATTRIBUTED TO CHOU FANG. T'ang dynasty.
Chou Fang Jāj ºff, who is known also by his title Chung-lang
ſºft #, flourished as an artist under the T'ang emperor Te Tsung
(A.D. 780–805). Through the good offices of his elder brother who
had accompanied Ko-shu Han on his victorious campaign against
Turfan, “he was summoned to Court and ordered to execute a painting
of a religious subject in a temple which the Emperor had just re-
stored.” It is said that “no sooner had he begun to paint than the
people of the capital flocked in to watch him, fools and wise alike,
some pointing out the beauties of his work, and others drawing atten-
tion to its shortcomings. He made changes accordingly, and by the
end of a month or so there was not a dissentient voice to be heard,
everybody uniting in praise of the painting, and declaring it to be
the masterpiece of the day.”
Several great pictures by him are named by Chinese writers,
and the Hsüan ho hua p'u gives the titles of seventy-two pictures by
him which were in the Imperial collection in the 12th century. Huang
Po-SSu, a contemporary art critic pointed out, says Giles, “that
I8
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No.

Chou Fang made his name first of all by Buddhistic pictures, and that
later on his Taoist pictures were among the finest of his day.” But
now he added, “We see nothing save his men and girls, which is very
much a matter for regret.”
The attribution of this painting to Chou Fang is made upon the
label which was attached to the Chinese mounting and also upon an
accompanying certificate.
15. THREE LADIES AND BANANA SHRUB (Pa-chiao).
Painting, on silk, in colors. Unsigned. Height 4234”; width 20".
ATTRIBUTED TO CHOU FANG. Tang dynasty.
Accompanying the picture and now mounted on the back of the
panel is a certificate signed by the eminent Yüan artist Chao Meng-fu
# iſ #3 in which he expresses the opinion that the painting was
executed by Chou Fang.
16. AN ANCIENT PINE TREE.
Painting, on silk, in ink. Unsigned. Height 343%"; width 18”.
ATTRIBUTED TO WEI YEN. T'ang dynasty.
Wei Yen # ||# “was a native of the metropolis who lived in
modern Szechuan. He was a skilled painter of landscape, bamboos,
trees, and human beings. His conceptions were lofty and his style
easy.” “The fact that he is mentioned by the poet Tu Fu, as a
youth, proves that he must have been born somewhere about A.D.
750,” says Giles, and he quotes the art-critic Huan Po-ssu who wrote:
“In Ts'ao Pa's pictures of horses the spirit surpasses the form; in
Han Kan's pictures of horses, the form surpasses the spirit: Wei Yen
occupies a middle place between these two, the style of brushwork
being very similar.” But, says Giles, “the pine was his specialty—
old pine trees and quaint rocks,” and from an early Chinese writer he
quotes; “The vulgar mob vaguely knew Wei Yen as a painter of
horses; they did not know that his pine-trees and his rocks were more
beautiful still.” The Sung artist Mi Fei said of one picture: “This
pine, with its thousand branches and ten thousand leaves, cannot
have been painted in less than a year. The veins on each leaf are like
real ones.”
An inscription upon this picture, stating that it was painted by
Wei Yen, is signed “Siang Yang,” one of the names of Mi Fei.
A certificate accompanying the picture and now attached to the
back of the panel states that the inscription is in the handwriting
of Mi Fei.
I9
17. PIGEONS ON A LIMB OF A BLOSSOMING PLUM TREE.
Painting, on paper, in colors. Unsigned. Height 23%"; width 15”.
ATTRIBUTED TO PIEN LUAN. T'ang dynasty.
Pien Luan # * is celebrated as a painter of birds and flowers.
ACCompanying this picture are two testimonials, now mounted
On the reverse of the panel. These are by Sung scholars and are in
praise of the painting.
18. CHILDREN’S FEAST DAY.
Painting, on silk, in colors. Unsigned. Height 25"; width 15%”.
ATTRIBUTED TO CHANG HSUAN. T'ang dynasty.
Of Chang Hsüan # ºf we know very little. Giles tells us that
several pictures by him, the titles of which he gives, have been re-
Corded as “among the notable works of the T'ang dynasty.” It is
Said that “he excelled in painting women and young girls, and in-
troduced the novelty of touching the female ear with red.”
The attribution of this painting to Chang Hsüan appears on the
label which was attached to the former mounting.
19. MOUNTAINS IN SUMMER BEFORE A STORM.
Painting, on silk, in ink. Unsigned. Height 57%"; width 3534”.
ATTRIBUTED TO WANG HIA. T'ang dynasty.
No biographical information about Wang Hia + æ is available.
A label now upon the back of the panel attributes this painting to him,
but more probably it is a Sung production after one of his designs.
20. TANG HUI RIDING OVER THE SNOW, SEARCHING
FOR PLUM BLOSSOMS.
Painting, on silk, in colors. Unsigned. Height 39%”; width 16%".
ATTRIBUTED TO HAN HUANG. Tang dynasty.
A label now on the back of the panel gives the title of the picture
and attributes it to Han Huang # 3% an artist of the T'ang dynasty.
21. MOUNTAIN LANDSCAPE.
Painting, on silk, in ink and tint. Unsigned. Height 51"; width 15%”.
ATTRIBUTED TO CHANG HSUN. T'ang dynasty.
Chang Hsün # #j was an artist of the T'ang dynasty, who was
known also by his religious name Meng Hsiu ž ſk. •
The attribution appears on a certificate and also on a label which
was attached to the former Chinese mounting.
2O
22. P'U-HSIEN AND SACRED ELEPHANT.
Painting, on silk, in colors. Unsigned. Height 22%”; width 15”.
ATTRIBUTED TO KUAN HSIU. T'ang dynasty.
A manuscript accompanying this painting attributes it to Kuan
Hsiu if ſº, also known as Te-yin ſì (;, and quotes from the Hsiian
ho hua p'u, where it is stated that he was a Buddhist priest who lived
most of his life in Szechuan in the Monastery of Harmony and Peace,
that he was best known by his Buddhist paintings, but was also a
great writer and was honored by the Emperor. He was born in
A.D. 832 and lived until 912. Giles tells us that “he went to the Shu
State and was received with high honor as a calligraphist and painter,
every one hastening to greet him with a piece of white silk, on which
he was expected to paint something.”
P'u-hsien is the Chinese name for the Bodhisatva Samanta-
bhadra, known as Fugen by the Japanese.
23. MOUNTAIN LANDSCAPE WITH SMALL WATERFALLS.
Painting, on silk, in ink and tint. Unsigned. Height 57%”; width 29.3%”.
ATTRIBUTED TO CHING HAO. The Five Dynasties.
Ching Hao #| #, whose nom de plume was Hung Ku-tse #46. Hº,
was a landscape painter, who, says Giles, “worked for his own
amusement, and wrote a small treatise on the art of landscape
painting.” He lived in the tenth century in the period known as the
Five Dynasties, the sixty years between the fall of the T'ang dynasty
and the rise of the house of Sung. .
A certificate by Tung Ch'i-ch'ang i jí; H, the greatest Ming
art critic, which is now attached to the back of the panel, reads,
“The picture of Chung Ni in search of truth; also called the picture
of Ch'un Chia-tu. It is the work of Ching Hao.”
24. MONGOLIAN HUNTING SCENE.
Painting, on silk, in colors. Unsigned. Height 4434"; width 22%”.
ATTRIBUTED TO HU KUEI. The Five Dynasties. Tenth
century.
The attribution is made upon a label which was attached to the
former Chinese mounting. Hu Kuei #### whose name is pronounced
by the Japanese Ko-kai or Ko-kwai, is thought to have been a Kitan,
because of his familiarity with Mongol life.
25. MA. KU HOLDING A BASKET OF FISH.
Painting, on silk, in colors. Unsigned. Height 37%.”; width 16%”.
ATTRIBUTED TO CHANG MEI. The Five Dynasties.
No biographical information concerning Chang Mei # £Z is
available. The attribution is made upon a label now attached to
the back of the panel.
2I
Ma Ku ºf jii was the sister of Wang Yüan, an astrologer who
rose to high official rank under the Emperor Han of the Han Dynasty,
in the 2nd century A.D. Like her brother she was an adept in the
black art. “She had long finger nails like the talons of a bird, which
caused Ts'ai Ching to remark how convenient they would be for
scratching one's back; whereupon he was suddenly belabored over the
shoulders by strokes from an unseen whip.” In Tao mythology she
is regarded as a female Sien-nung (Japanese, Sennin or Rishi), that
is, one who has reached the stage of immortality through meditation,
asceticism, and the following of Taoist teaching.
26. MOUNTAIN LANDSCAPE, WITH PAVILIONS AND, ON
A HEIGHT, THE CELEBRATED “TEMPLE OF REST.”
Painting, on paper, in ink and tint. Unsigned. Height 50%”; width 25”.
ATTRIBUTED TO LI CH'ENG. Northern Sung dynasty.
Of Li Ch'eng 2: Bă, known to the Japanese as Ri-sei, Fenollosa
says that “he is the centre of the early Sung landscape style.” He
was descended from the Imperial house of T'ang, was very precocious
in childhood, and as he grew up, developed along with a great talent
for landscape painting and a love for poetry, an overfondness for
wine. His skill with the brush was so great that there was an active
demand for his works which were always difficult to obtain. We are
told that “it was first necessary to ply him with liquor until he was
tipsy: and then, no sooner did his brush descend than mist and
scenery burst forth in myriad shapes.” Another writer, in comment-
ing upon his works, rapturously exclaims, “Lofty peaks in range be-
hind range, with shrines and Cottages peeping forth—in these he
excelled indeed; dense groves or thin groups of trees, flowing water,
shallow or deep, + in these it was as though he produced realities,
pure in conception and after the old style but superior to anything
that antiquity Could show.” In painting snow scenes he is said to
have frequently followed the style of Wang Wei.
An inscription on the upper left corner of this picture reads:
“Painted by Li Ch'eng. Certified by the Minister of the Interior,
Ruo Tzu-siao.” An impression of the large seal of the Minister
appears above the inscription.
27. T“ANG-HUI SEARCHING FOR PLUM BLOSSOMS.
Painting, on silk, in ink and tints. Unsigned. Height 55%”; width 39%”.
ATTRIBUTED TO HSU TAO-NING. Sung dynasty.
Of the Sung artist Hsü Tao-ning #f # 3. Giles tells us that he
“began by painting landscape after the style of Li Ch'eng 3 Bº, with
original characteristics of his own, but sank finally to pot house carica-
ture,” and he quotes the following from a Chinese author: “Whenever
22
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he saw any one asleep, or a very ugly person, he would amuse himself
by caricaturing them at the pot houses, and those who knew the vic-
tims would roar with laughter, and although he was severely thrashed,
his clothes torn and his face spoilt, he could not mind his ways.”
28. AUTUMN IN THE MOUNTAINS.
Painting, on silk, in colors. Unsigned. Height 66%"; width 3734”.
ATTRIBUTED TO CHIANG KUAN-TAO. Sung dynasty.
This attribution appears on a label which was attached to the
former Chinese mounting. According to the Hua shi hui chien
(Synopsis of the History of Chinese Painting) Chiang Kuan-tao XI
it # was a native of Kiangnan (Nanking), who lived during the Sung
dynasty and followed the style of Tung Yüan i ſã in painting
landscapes. Regarding the style of Tung Yüan, a noted artist who
held an official post under the later T'ang dynasty, and was also a
native of Kiangnan, Giles tells us it is recorded in Chinese writings
that he “almost always painted the hills of his own native country-
side; and these, their peaks, precipices, and valleys, in all the diverse
phases of wind and rain and mist, he reproduced with such skill that
spectators seemed to see with their own eyes the very places indi-
cated.” His landscapes were also said to be very stimulating to poets.
29. PHOENIX CHANTING TO THE MORNING SUN.
Painting, on silk, in colors. Unsigned. Height 6934”; width 36%.”.
ATTRIBUTED TO HUANG CHU-PAO. Northern Sung
dynasty.
This attribution and the title of the picture are given upon a
label taken from the former mounting and now placed upon the back
of the panel. r
No biographical details about Huang Chū-pao if H # are
available, save that he lived in the early years of the Sung dynasty
and was a Son of Huang Ch'iian # 3:, known to the Japanese as
Wö–Sen, who, according to Giles, “held high office under the last
ruler of the Shu State” (the last of the Five Dynasties), and “made
for himself a great position in the history of Chinese Art.” That his
Son was also an artist of distinction, this painting, assuming the
accuracy of the attribution to him, clearly shows.
30. LANDSCAPE WITH RUGGED MOUNTAINS, CLIFFS,
AND LOFTY FORESTS.
Painting, on silk, in ink. Unsigned. Height 60”; width 39%.”.
ATTRIBUTED TO CHUJAN. Northern Sung dynasty.
Chii Jan E ##, also called Chū Yen, a distinguished artist of
the Northern Sung dynasty, was, according to Giles, a native of the
23
Southern T'ang State who became a Buddhist priest, taking his
vows at a local monastery, “where he set himself to study landscape.
When the last ruler of this State finally submitted to the house of
Sung in A.D.975, he carried the painter Chū Jan with him to the cap-
ital, and there the latter established himself, taking up his abode
at K'ai-pao Monastery, where he painted a very beautiful picture
On the walls of the library, entitled ‘Mountain Peaks in Morning
MistS.’”
In regard to Chū Jan's style Giles quotes from Shen Kua: “He
took Tung Yüan for his model and succeeded in mastering the same
principles of beauty. The works of these two painters must be seen
from a distance on account of the roughness of their brushwork.
Seen close, the objects in their pictures seem almost like shapeless
masses; but when held at a distance, the scenery and general details
Stand brilliantly out, stirring profound emotions and suggesting
far-away thoughts as though one were gazing upon some strange
land.” -
The attribution of this painting to Chū Jan appears upon a
label which was attached to the former Chinese mounting. The
inscription upon the picture is a poem by Yen Hui.
31. MOUNTAIN SNOW SCENE, WITH RED-CLOAKED
TRAVELER.
º on silk, in ink and tint. Signed “Ta-nien.” Height 7434”; width
%”.
PAINTED BY CHAO TA-NIEN. Northern Sung dynasty.
Chao Ling-jang # 3 #, better known by his fanciful or studio
name Chao Ta-nien #5 jet 4B, and to the Japanese as Chotainen, was
one of the masters of the Northern or early Sung, So-called to
designate the period from A.D. 960 to 1126 when the capital was at
K'aifongfu on the river Hoangho. He was, says Giles, “an Imperial
clansman of the house of Sung, a fact which he considered as an
obstacle to his unqualified success in art. However, he managed to
receive a good education before he turned to painting and then de-
voted himself to copying the great masters of the Chin and T'ang
dynasties. . . . Although he never travelled far afield, finding his
landscapes in the country around the capital within a radius of less
than a hundred miles, his pictures were sure to Contain Some new im-
pression, some striking treatment. Many of his landscapes were
painted on fans, at the back of which the Emperor Che Tsung (1085–
1100) would inscribe appropriate lines. When he became famous, the
demands made upon him were so exhausting that he cried in despair,
‘This it is to be a slave to art!’” Fenollosa styles him “the painter of
delicate impressionistic landscapes in color.”
24
At the top of the painting is an inscription praising the picture
and asserting that it is by Chao Ta-nien. This was written and
signed, says Mr. Ma, by Huang Chu-hui, a contemporary of the
artist.
32. A MOUNTAIN LANDSCAPE.
Makimono, or scroll painting, on silk, in ink and tint. Unsigned. Length
34"; width 1234”.
ATTRIBUTED TO FAN K*UAN. Northern Sung dynasty.
Fan K'uan #5 j., styled also Chung-cheng H IE, was one of the
shining lights of the Northern Sung artists, who is especially cele-
brated as a painter of mountain Scenery. One writer said of him
that after withdrawing from the capital and retiring to a beautifully
wooded spot on the Chung-nan Mountain in Shensi, “There he
would sit gazing upon the shifting values of cloud and mist, the difficult
effects of wind and moon and shadow and light, until at length his
soul was filled with inspiration, and forth from his brush would come
a thousand cliffs and myriads of ravines. . . . Therefore, throughout
the Empire, Fan K'uan became known as one who could reproduce
the spirit of the hills.” Another writer says, “He gave to his
mountains a genuine anatomy which ranks him as the founder of a
school; and this characteristic of firmness and antiquity, plagiarized
from no previous artist, entitles him to equal honors with Li Ch'eng.
During the long sway of the house of Sung, these two were the only
landscape painters of the very first rank, and they have never been
surpassed.” The dates of his birth and death are not known, but
one writer states that he was “still alive” in A.D. 1026.
33. CAPTIVE MONKEY.
Painting, on silk, in ink and colors. Signed: “IYüan-Chi.” Height 37%”;
width 21%”.
PAINTED BY IYUAN-CHI. Northern Sung Dynasty.
Of I Yüan-chi º jū #, known to the Japanese as I-gen-kitsu,
Giles quotes a Chinese writer as saying that he was a native of
Hunan, who “began his career as a painter of flowers and birds. When,
however, he saw what Chao Ch'ang had achieved he said, ‘The age
does not lack men; what I must do to make a name is to strike out in
some original line not already occupied by the men of old.” There-
upon he set off to travel far and wide, visiting famous mountains and
great rivers; and whenever he came across any particularly fine
scenery, there he would fix his attention, and roam about almost
as it were in the very company of the gibbon, the deer, and the wild
boar. And So, when he came to transfer with his brush these ex-
25
periences of mind and eye, the result was something of which the
everyday world had never succeeded in Catching a glimpse. Then
when at home, at the back of his own house he laid out a garden and
dug ponds, with rockwork and bamboos and rushes, and kept there
a variety of water fowl and animals, so as to be able to watch them
in movement and in repose, and to reproduce them more successfully
in his pictures. Thus it was that in this branch of art no one came
out on his right,”— i.e., surpassed him; the right hand being then the
place of honor instead of the left as in the present day. -
To this Giles adds: “We hear of him in 1066 employed in dec-
orating the palace walls. His picture of ‘A Hundred Gibbons’ is
several times mentioned as a masterpiece but no details are given to
afford a clue either to the composition or to its style. One authority
says, “I Yüan-chi painted an immense number of pictures and signed
them himself as follows, Painted by I Yüan-chi, otherwise known as
Chu-Chiao, of Ch'ang-sha.’ The Hsüan ho hua p'u gives the titles
of two hundred and forty-five works of his in the Imperial collection
among which were many landscapes, animals, birds, flowers, fruits,
etc.”
34. THE CLOUD-CAPPED TEMPLE.
Painting, on silk, in ink. Signed. Height 59’’; width 31’’.
PAINTED BY MI FEI. Northern sung dynasty.
Mi Fei 3% j (A.D. 1051–1107), known also by his literary name
or “style,” Mi Yüan-chang 3K jū £, pronounced Bei-gen-shū by
the Japanese; and by a third name, Mi Siang-yang 3K # ſº, was,
says Giles, “a native of Kiangsu, whose mother had been in at-
tendance upon the Empress, and who received in consequence a
military appointment in Anhui. Summoned to be a Court painter he
became a secretary in the Board of Rites, and subsequently went
again into the provinces, where he died. He was a monomaniac on
the subject of cleanliness, refusing to use towels or plates and bowls
which had served for any one else. He spoke of a large and curiously
shaped boulder as “his brother,’ and altogether he was decidedly
eccentric, a fact which considerably interfered with his success in
official life. On one occasion when he was out in a boat with some
literary friends and was shown a specimen of Calligraphy of Wang
Hsih-chih (4th century), he became very excited and threatened to
jump overboard unless the owner made him a present of it, which the
latter was consequently obliged to do.”
His eccentricity was reflected in his art, his drawing being called
“almost childish,” and his brush strokes showing pronounced man-
nerisms. In spite of these peculiarities there is a quality in his work
which gained him recognition as an artist of distinction. He painted
26
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both landscapes and human figures, and was “a diligent copyist
of the old masters.” As a scholar and critic he also achieved a con-
siderable reputation, and he was the author of the Hua shih “an in-
teresting gossipy book, full of miscellaneous items on pictures, how
to repair them and generally care for them, what his friends had in
their collections, and entries of exchanges effected, hints to guide
purchasers to detect forgeries, remarks on paper, silk, etc.”
This painting bears as a signature impressions of two of the
artist seals at the lower left. The upper one reads “Mi Fei;” the
lower, “Yüan-chang.” An inscription on the painting written and
signed by the Sung Emperor Hui Tsung # 3 (A.D. 1082–1135)
attributes the painting to Mi Fei, as also do two certificates now
mounted on the back of the panel, signed by Tung Ch'i-Ch'ang, the
greatest of the Ming critics.
35. RAIN IN THE MOUNTAINS.
Painting, on silk in ink. Signed. Height 40%"; width, 1534”.
PAINTED BY MI FEI.
Signed: “Mi Fei. First year of the reign of Chung-ning on the
eighth day of the second month,” i. e. A.D. 1102. Three testimonials
which accompanied the picture are now attached to the back of the
panel. Two of these are modern poems praising Mi Fei’s work:
the third is written and signed by Po Hsi, a Ming collector, who points
out that Mi Fei was the founder of a distinct school of painting, his
movement of the brush and manner of using ink being peculiar to
him.
36. MOUNTAIN LANDSCAPE.
Painting, on silk, in ink. Signed. Height 36”; width 15%’’.
PAINTED BY MI FEI.
Signed: “Mi Fei, painted at the Pao Tsin studio on an autumnal
day in the third year of Chung-ning,” i. e. A.D. 1104.
37. KUAN-YIN STANDING WITH ARMS FOLDED.
Painting, on paper, in ink. Signed. Height 36%”; width 1636”.
PAINTED BY LI KUNG-LIN. Northern Sung dynasty.
Li Kung-lin 3 & #, known also by the appellation Po-shi
(H #, is one of the most famous of the Chinese painters. One of the
Chinese critics describes him as “the first of all the painters of the
Sung dynasty, equal in brilliancy to the masters of olden times.”
From another author we learn that “he wrote in the style of the
Chien-an period (A.D. 196–220); his calligraphy was that of the Chin-
27
Sung epoch (third and fourth centuries); his painting ranked with
that of Ku K'ai-chih and Lu T'an-wei; and as a widely informed con-
noisseur in bells, incense-burners, and antiques generally, he was quite
without a rival in his day.” He belonged to a literary family and in
1070 he gained the highest degree and entered upon an official career.
After serving in several important posts, in 1100 rheumatism com-
pelled him to resign. He then retired to the Mountain called Lung-
mien ÉÉ Āft, which means “a place where the dragon sleeps.” Hence
he styled himself Lung-mien Chū-shi, that is “the recluse of Lung-
mien.” From this came his popular appellation in after years, Li
Lung-mien, which in the Japanese pronunciation becomes Ri-ryū-min.
It is said of him that “during the ten years he was in office at the
capital, he never frequented the mansions of influential persons; but
whenever he got a holiday, if the weather was propitious, he would
pack up some wine and go out of the city, taking with him two or three
Congenial Companions. Then in some famous garden or leafy wood
he would sit on a rock by the water while the hours passed quickly
by.” And we are told that “during all the thirty years of his official
life he never for one day forgot mountain and forest; therefore his
pictures were those scenes which he had brought together in his own
mind.” He died in IIoô.
His paintings, most of which were in monochrome, evoked many
panegyrics from his contemporaries and the critics of succeeding
generations. “His brushwork,” they said, “was like clouds passing
or water flowing.” He sometimes used strokes of great force, yet so
minute that they seemed to be done with a brush made of a single
hair. “After his death,” we read, “his works became very scarce,
being bought up at high prices. This led to much forgery for the
sake of gain. He who is not deep in art may be taken in, but such
imitation cannot escape the mirror-like skill of the connoisseur.”
This picture bears, in the lower left corner, the signature: “Re-
spectfully painted, Li Kung-lin.” .
38. HORSE AND GROOM.
Painting, on paper, in ink. Unsigned. Height 1734”; width 934”.
ATTRIBUTED TO LI KUNG-LIN.
“In his early years Li Kung-lin was especially fond of painting
horses, and his animals were Said by Some to surpass even those of
Han Kan himself. . . . He would pass hours gazing at the horses
in the Imperial stables some of which came in tribute from Khotan
and other foreign countries. . . . At length a Buddhist priest re-
proved him saying, ‘The disposition of all living creatures is deter-
mined by influences gathered upon them during past aeons of time.
Now your mind is taken up solely with horses. Take care lest by
28
process of metempsychosis you become a horse yourself.’ At this
Li was much alarmed and took to painting Buddhist pictures, in
which he soon excelled.”
39. MOUNTAINLANDSCAPE WITH MANY LOHAN (ARHAT)
Painting, on paper, in ink. Signed. Height 57%”; width 15%”.
PAINTED BY LI KUNG-LIN.
Signed: “Rung-lin.” Impressions of two seals also appear upon
the painting. One is that of Huang Wen-chi; the other is that of
Ch'iu Ying, a Ming painter who attained great fame as a copyist.
40. TEN LO-HAN (ARHAT).
Paintings, on paper, in ink. Mounted in an album 14%" Square. Signed.
PAINTED BY LI KUNG-LIN.
41. THE EIGHTEEN SCHOLARS OF THE T“ANG DYNASTY.
Makimono, or Scroll painting, on silk, in ink and color. Signed. Length
220%”; width 11”.
PAINTED BY THE EMPEROR HUI TSUNG. Northern
Sung dynasty.
Hui Tsung # 3 (A.D. 1082–1135), ascended the throne in 1100 as
eighth emperor of the Sung dynasty. In Japan he is known as Kisó
Kötei. He was an accomplished man and a clever artist, but as a
ruler he was weak, and his reign was disastrous. “Most imperial
attempts at art,” says Fenollosa, “are only flattered mediocrity;
but Kisó's work really rises to the heights.”
In Giles’ “Introduction to the History of Chinese Pictorial
Art” we read that “this Emperor signalized the first year of his reign
by establishing an Imperial Academy of Calligraphy and Painting,
and in order to collect the best available talent, he circulated an edict
far and wide that a competition would be held for the election of a
number of artists, success to depend upon the interpretation of cer-
tain lines of ancient poetry. “One line was:
The bamboos envelop the inn by the bridge,
and as this was a theme capable of expression by form, the competitors
unanimously devoted their energies to the elaboration of the inn.
One of them, however, who was a real artist, merely allowed the sign
of the inn, with the usual word Spirits written on it, to peep through
the bamboos, thus suggesting the establishment behind.
“Another line was:
The hoof of his steed comes back heavily charged with the scent of the
trampled flowers.
“But as the idea here could not be expressed by form, the problem
was more difficult of solution. Again, however, a clever artist rose
to the occasion. He simply painted a cluster of butterflies following
at a horse's heels, evidence enough of the attraction there was. Both
these two candidates were successful; for in an art examination it is
Originality of thought which places one man above another, just as
in an ordinary examination it is superiority of literary talent. And al-
though the two tests were not by any means calculated to produce
identical results, still they both offered to men of originality a chance
to separate themselves from their less-favored colleagues.’”
This citation from a Chinese writer is of value for the glimpse it
affords of the poetry of suggestion throughrelated ideas which appealed
So strongly to the artists of the Sung period, and indeed to all cul-
tivated people in the Far East from early times down to the present
day. Yet the Academy of Painting (T'u Hua Yilan) was criticized
for insistence upon “formal resemblance.”
Hui Tsung's passion for precious stones, works of art, and other
rare and beautiful objects, led to his downfall. “While gathering
these things for him, T'ung Kuan, his head eunuch, and Chu Mien,
the son of a druggist, whom he made the head of the Tribute office, so
oppressed the people that in 1120 they rose in revolt. Six years
later the northern part of the empire was conquered by the Kin
Tartars. The next year he gave himself up, and he remained in
captivity until his death in 1135.
Upon this painting which shows the T'ang scholars in an ex-
tensive landscape, are two inscriptions, written personally by the
Emperor. The first at the beginning is the title, “The Eighteen
Scholars of the T'ang dynasty.” The other, at the end of the paint-
ing is a laudation of the scholars of the T'ang period. A manuscript
on light brown paper attached to the roll is written by Wang Hsio, a
Ming scholar, who states that shortly after Hui Tsung ascended the
throne he called his ministers together and told them he had no
interest in any pleasure except that derivable from painting; hence
from that time forward he was surrounded by great painters and
scholars. The silk upon which the painting is done is a fine specimen
of the early Sung silk made especially for the use of painters.
42. FISHING WITH CORMORANTS.
Painting, on silk, in ink and tint. Unsigned. Height 45"; width 22%”.
ATTRIBUTED TO HSIA KUEI. Southern Sung dynasty.
Hsia Kuei XI. H., known also as Yu-wu, and by the Japanese as
Kakkei, and widely renowned as one of the greatest landscape artists
of China, was a native of Ch'ien-t'ang. He served in the Han-lin
College under the Emperor Ning Tsung (A.D. 1194–1224), who deco-
3O
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-
-
-
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rated him with the order of the Golden Girdle. A Chinese writer
quoted by Giles said of him: “He painted human figures of all sorts
and conditions. His monochromes seemed to be colored; his brush-
work was virile; and his ink was as though dripped on, truly very
wonderful. For his snow scenery he went to the works of Fan K'uan
Şă î, and in landscape, no academician since Li T'ang has come out
on his right hand,” i.e., has excelled him.
Fenollosa who does not hesitate to call him “the greatest land-
Scape artist of China, yes – of China and Japan if not of the world,”
Says he “seldom did figures.” Apparently few of his figure paintings
have survived, but enough of his landscapes have come down to us
to justify the assertion that as a master of ink painting he is unrivaled.
Especially did he excel in handling ink so it appears to be wet. “Even
the rocks and the hills,” says Fenollosa, “crumble away into these
gleaming touches, when the contrast of light and dark spots is in-
Conceivably splendid.” But his reputation rests upon more than
mere mastery of the brush: it is based also upon the rare spiritual
quality with which his paintings were imbued, upon their poetic
Content and their insistent appeal to the aesthetic Sense.
43. LANDSCAPE WITH SWIFTLY FLOWING STREAM.
Painting, on silk, in rich black tint. Signed. Height 54%"; width 36".
PAINTED BY HSIA KUEI.
The signature of Hsia Kuei appears on the left edge and has been
painted over. Nineteen inches below it a false signature of the
artist’s distinguished contemporary, Ma Yüan, has been added in large
characters, such as he never used in signing pictures.
44. MOUNTAIN SCENERY.
Painting, on silk in colors. Signed “Ma Yüan,” on a rock at the right edge.
Height 70%”; width 4234”.
PAINTED BY MA YUAN. Sung dynasty.
Ma Yüan É # known to the Japanese as Ba En (or Bayen) is
regarded as one of the three greatest painters of the Southern Sung,
that is of the period covering a hundred and fifty two years — a
supreme flowering time of art — when the Court, after having been
driven from K'aifongfu, the northern capital, in 1126 by the Kin
Tartars, had established a new capital in the ancient city of Hangchow.
He “flourished as a Court painter,” says Giles, “between A.D. 1190
and 1224, and came of a family many of whose members from early
times were artists.” His grandfather Ma Hsing-tsu Fă şi fifl, known
to the Japanese as Ba Köso, was one of the first members and in his
day the chief critic of the Imperial Academy of Calligraphy and
Painting established by the Emperor Hui Tsung.
3I
The distinguished characteristics of Ma Yüan’s works, so far as
we may judge from those that have come down to us, are grandeur of
conception and imaginative insight. They show keen appreciation
of the poetic aspects of nature and sympathy with her moods. They
reveal a masterly technique at once bold, free, and direct, yet every-
where Superbly controlled. His paintings were greatly admired in
Japan and a considerable number were imported thither from China
and found lodgment in the collections of the daimyū, and occasionally
in temples. Only his contemporaries Hsia Kuei and Mu Ch'i
£º #, known to the Japanese as Mokkei, are thought worthy to be
ranked with him.
45. LANDSCAPE, SHOWING ROCKY HILLS, PINE TREES,
AND A PAVILION.
Painting, on silk, in ink and tint. Signed, “Ma Yüan.” Height 73%" ;
width 3834”.
ATTRIBUTED TO MA YüAN.
The painting is clearly in the style of Ma Yüan, but the signature
is of doubtful authenticity.
46. MELONS AND WINES.
Makimono, or scroll painting on silk, in colors. Signed. Length 78’’;
width 16%".
ATTRIBUTED TO MA TA. Sung dynasty.
Ma Ta Ră ă, called Ba Tatsu by the Japanese, was an elder
brother of Ma Yüan, whom he is said to have excelled in painting
birds.
47. SPRING FILOWERS: APPLE AND WHITE MAGNOLIA
BLOSSOMS. -
Makimono, or scroll painting, on paper in colors. Unsigned. Length 31’’;
width 12%”.
ATTRIBUTED TO CHIENHSUAN. Southern Sung dynasty.
Ch'ien Hsüan ## #, called also Ch'ien Shun-chii ś # # and
Ch'ien Yu-tan, and known as “the man of the Jade Pool and Roaring
Torrent,” lived in Wu-hsing, province of Chehkiang. He “graduated
as chin shih about 1260,” says Giles, “and still faithful to the ex-
piring Sung dynasty, joined a small coterie of which Chao Meng-fu
was president. When later on Chao took office under the Mongols,
Ch'ien was very indignant, and wandered about, occupying himself
with poetry and painting, until the end. He required the stimulus of
32
wine: “only when he was beginning to get drunk was there co-ordina-
tion of mind and hand.’ When his paintings were finished, he
troubled no more about them, and Connoisseurs used to carry them
away. His best efforts were said to be equal to works by the old
masters. On one occasion he borrowed a picture of a white eagle;
and after copying it carefully, he kept it and returned the copy, the
owner not discovering the change. He painted human figures,
landscapes, flowers, and birds.”
The attribution of this painting to Ch'ien Shun-chii is made
upon the label upon the outside of the Scroll, upon another preceding
the painting, and upon an inscription following it which was written
and signed by Chao Meng-fu (A.D. 1254–1322). Impressions of ten
Seals are upon the right edge of the painting, the oval one at the top
being that of the Emperor Ch'ien Lung (A.D. 1736–1795). Three
Seals are impressed between the two sprays of flowers and six more
upon the left edge of the painting.
48. BRANCHES OF AN EGG PLANT, BEARING FOLIAGE,
BLOSSOMS, AND FRUIT.
Scroll painting, on paper, in colors. Signed. Length 23”; width 11%".
PAINTED BY CHIEN HSUAN.
Signed at the left: “Ch'ien Hsüan Shun-chii.” And upon the
same sheet with the signature is a three line ode written by the artist.
49. BIRDS ON A SNOW-LADEN TREE.
Painting, on silk, in colors. Unsigned. Height 25%”; width 16”.
ATTRIBUTED TO KOU LUNG. Sung dynasty.
Kou Lung & #, also known as Kou Shang, was an artist of the
Sung dynasty concerning whom no biographical information is
available. The attribution to him is made on the label formerly
attached to the Chinese mounting of the picture.
50. GARDEN SCENE IN WHICH APPEAR TWO LADIES
AND A CHILD.
Fº on silk, in colors. Signed, “Liang K’ai.” Height 30%"; width
PAINTED BY LIANG K'AI. Sung dynasty.
Liang K'ai # #, known to the Japanese as Ryokai, was an artist
of the Sung dynasty. His works show marked originality. Fenollosa
calls him “a free impressionist,” and says, “He painted figures and
landscapes whose parts seemed to fly asunder in great splinters wedged
off by lightning strokes.”
33
51. FOREST SCENE WITH FIGURES.
Painting, on silk, in colors. Unsigned. Height 37”; width 19'.
ARTIST UNKNOWN. Probably Sung dynasty.
A manuscript on silk, accompanying this picture and now
mounted on the back of the panel, written and signed by Chang Yin-
chung, quotes from the Hua shi hui chuan # 95 # ſºft, in which this
picture, or one similar to it, is described and attributed to Ku K’ai-
chih of the Chin dynasty.
52. TWO LADIES AND AN ATTEND ANT.
Painting, on silk, in colors. Unsigned. Height 40”; width 23”.
ATTRIBUTED TO SU HAN-CH'EN. Sung dynasty.
No biographical information regarding Su Han-ch'en É Ā É
is available. A label which was attached to the former Chinese
mounting attributes this painting to him and states that it once be-
longed to the famous studio of Chiang Chuan. r
53. A MONGOL HUNTER ON HORSEBACK.
Painting, on silk, in colors. Unsigned. Height 49%"; width 3434”.
ARTIST UNKNOWN. Sung dynasty.
Without signature or accompanying manuscript. An impression
of the seal of a Yüan Emperor is placed near the top at the left.
54. LAKE AND MOUNTAIN LANDSCAPE.
Painting, on silk, in ink and colors. Unsigned. Height 29%"; width 11%".
ARTIST UNKNOWN. Sung dynasty.
Without signature, Seal, or accompanying manuscript.
55. BODHIDHARMA CROSSING THE SEA.
Painting, on silk, in ink and tints. Unsigned. Height 18%”; width 10%”.
ARTIST UNKNOWN. Sung dynasty.
Across the top of the picture is an inscription written in Chinese
by the Japanese monk Bantsuto-konoku, whose name signifies “the
Light of the Eternal Cave of the East.” The inscription recites that
the figure of Bodhidharma “is floating away on a reed to the West.”
This refers to the legend that he crossed the sea standing upon a reed.
He was the twenty-eighth and last Patriarch of Buddhism in India,
and the first Patriarch of Chan (Zen) Buddhism in China to which
country he introduced that cult in the sixth century A.D.
34
No. 44

56. MOUNTAIN SCENERY.
Painting, on paper, in ink. Signed. Height 36%"; width 12%".
PAINTED BY HSU FEN. Sung dynasty.
In the upper left corner is the signature Hsü Fen # jã, and the
title of the painting. Another inscription in seven lines is a poem
written and signed by the Emperor Ch'ien Lung (A.D. 1736-1795),
bearing both his personal and his gallery seal. A manuscript by
T“ieh Yün # 3., a writer of the Ming period, which accompanied the
picture, and is now mounted on the back of the panel, says that
Hsü Fen traveled extensively along the Yangtse River to get subjects
for his pictures, and also that he was famous as a poet.
57. PORTRAIT OF LU MEI-NIANG.
Painting, on silk, in colors. Unsigned. Height 4534”; width 16%".
ATTRIBUTED TO HO CH'UNG. Sung dynasty.
An inscription on a label which was attached to the former
mounting and is now affixed to the back of the panel, attributes the
painting to a Sung artist, named Ho Ch'ung ſº, jê, who followed an
Original design made during the T'ang period. It also states that
Lu Mei-niang, the subject of the portrait, was a famous nun who
lived in the ninth century, and was known as “The Wandering Taoist
Recluse.”
58. A LADY STANDING.
Painting, on silk, in colors. Height 51%”; width 29%”.
ARTIST UNKNOWN. Probably Sung dynasty.
The signature “Yüan Ch'ien” # ſh; which appears upon the
picture is presumably false. It is coarsely written and badly rubbed.
Of Yüan Tsing nothing is known. In the inscription on the label
that was attached to the former mounting he is called a T'ang artist,
but the painting is more probably of the Sung period after a T'ang
design.
59. A CABBAGE PLANT.
Painting, on paper, in ink. Unsigned. Height 50%"; width 23%”.
ATTRIBUTED TO KAO HUAI—PAO. Sung dynasty.
No biographical imformation concerning Kao Huai-pao ; # ºf
is available. The picture is ascribed to him in an inscription on the
label that was attached to the former mounting.
35
60. FISHERMAN TRAVELING HOMEWARD ON A WINTER
DAY.
Painting, on paper, in ink and tint. Unsigned. Height 40”; width 16%".
ATTRIBUTED TO CHIA SHI-KU. Sung dynasty.
No biographical information regarding this artist is available.
A certificate and a label both of recent date, now mounted on the
back of the panel, give credit to Chia Shi-ku ºf Éiff H for having
painted the picture with an unusual use of ink and little water, and
with having invested the subject with “a big feeling for nature.”
61. A PALACE AND GARDEN FACING A LAKE.
Makimono, or scroll painting, on straw-colored silk, in brilliant colors. Un-
signed. Length 3934”; width 1156”.
ATTRIBUTED TO LENG CHEN-JEN. Sung dynasty.
No biographical information about Leng Chen-jen ºf H. JV is
available. Four large characters on the mounting preceding the paint-
ing give its title, “Picture of P'eng-lai (The Isle of the Blest) with
Taoist immortals playing wei-ch'i (Japanese go).”
62. LITIEH-K'UAI, ONE OF THE EIGHT IMMORTALS OF
TAO MYTHOLOGY. -
Painting, on silk, in ink and colors. Height 66"; width 4034”.
ARTIST UNKNOWN. Late Sung or early Yüan.
Li T'ieh-k'uai 3 ###, thatis, Li with the Iron Staff, known to the
Japanese as Tekkai Sennin, was a fabulous hermit who is always
represented as a beggar leaning on an iron staff. Giles, in his “Chi-
nese Biographical Dictionary,” gives the reason for this as follows:
“Summoned by Lao Tzu to a Conference on high, his anima mounted
to heaven, leaving the body, with the umbra still present, in charge of
a disciple. The latter, however, was called away to his mother's
deathbed, and when the anima returned the umbra had passed as
usual into the earth and dissolution had set in. The anima therefore
took refuge in the body of a lame beggar who had just expired, that
is, whose anima had just gone up to heaven, but whose umbra had
not yet gone down to earth.”
63. THE BUDDHA AND CONFUCIUS: THE FORMER CAR-
RYING A YOUNG KILIN IN HIS ARMS.
Painting, on silk, in tints. Unsigned. Height 39%"; width 24.3%".
ARTIST UNKNOWN. Sung or Yüan dynasty.
Probably painted after a design by Wu Tao-tzú.
36
64. AN ALBUM CONTAINING NINE PAINTINGS BY AR-
TISTS OF THE FIVE DYNASTIES AND SUNG PERIODS,
AND ONE TEXTILE PICTURE.
1. LANDSCAPE.
Painting, on silk, in ink.
ATTRIBUTED TO YEN HSIEN-P'ING. Sung dynasty.
Without signature or seals. No information regarding Yen
Hsien-p'ing É Āf ZF is available.
2. ROCKY LANDSCAPE.
Painting, on silk, in ink.
ATTRIBUTED TO HSIA KUEI. Sung dynasty.
In the upper right-hand corner, a large Imperial Seal.
3. MOUNTAIN AND LAKE SCENE.
Painting, on silk, for a fan, in ink.
PAINTED BY SHENGTZU CHAO. Yüan dynasty.
Signed by the artist Jā; + H and his seal appended; upper
left side. Other inscriptions and seals are those of former owners.
4. RIVER SCENE.
Painting, on silk, in ink and color.
ATTRIBUTED TO KUO HSI. Sung dynasty.
Unsigned. Kuo Hsi #5 º is regarded as one of the greatest
of the Chinese painters. . He lived in the eleventh century.
5. TOY PEDDLER.
Painting, on silk, in ink.
ATTRIBUTED TO LI KUNG-LIN (LI LUNG-MIEN)
Sung dynasty.
Unsigned.
6. CHILDREN AT PLAY.
Painting, on silk, in ink and colors.
ATTRIBUTED TO CHOU WEN-CHÚ. Sung dynasty.
Unsigned. Chou Wen-chü Jij ż żE was an artist of considerable
repute, whose specialty was pictures of women.
37
7. FOUR FIGURES.
Painting, on silk, in ink and colors.
ATTRIBUTED TO HSU CH'UNG-CHU. Sung dynasty.
Unsigned. The seals are those of former owners. Hsü Ch'ung-
chü # ºf #E was a grandson of Hsü Hsi & #, an artist of the South-
ern T'ang State of the Five Dynasties period.
8. TWO DUCKS.
Painting, on silk, in ink and colors.
ATTRIBUTED TO CHIEN HSUAN. Sung dynasty.
Unsigned. The seal is that of a former owner.
9. FLOWERS.
Woven on silk, in colors.
KO-SSU (TAPESTRY). Sung dynasty.
Three seals are those of Mu-lin, a great collector of the Ming period.
10. BUTTERFLY AND FOLIAGE.
Painting, on silk, in ink and colors.
ATTRIBUTED TO HUANG CHU-TSAI. The Five Dynasties.
Unsigned. The seals are those of Kou Chou-chin a former owner.
Huang Chü-ts'ai # Jä # was a son of Huang Ch'iian i Ż, known
to the Japanese as Wo-sen, an artist of the Five Dynasties, “who
made for himself a great position in the history of Chinese Art.”
65. HORSE AND GROOM.
Painting, on paper, in colors. Signed. Height 26%”; width 1134”.
ATTRIBUTED TO CHAO MENG-FU. Yüan Dynasty.
Chao Meng-fu # iſ #i who was born in A.D. 1254, was a lineal
descendant of the founder of the Sung dynasty and was an hereditary
official. “Upon the fall of the House of Sung he retired into private
life until 1286 when he was summoned to Court and was appointed
secretary of the Board of War. By 1316 he had risen to a high post
in the Han-lin College, and was much esteemed by the Emperor,
who always addressed him by his “style” or literary name Tzú-ang
+ Hº instead of using his official name Meng-fu.” He died in 1322.
“As a calligraphist his name was known all over the Empire; and his
pictures of scenery, trees, rocks, flowers, bamboos, people, and horses,
were exceedingly delicate and refined.” One writer says, “He had all
the suggestiveness of the T'ang period (A.D. 618–906), without its
elaboration; all the masculinity of the Northern Sung period (A.D.
960—1126) without its lack of restraint.”
38
-
-
-
-
--
i
'.
-
:

The inscription in the upper left-hand corner of this picture
reads: “In the autumn of the ninth month of the first year of the
period Yüan-cheng jū ā (i.e., A.D. 1295), Tzú-ang ºf Hº Sung-hsüeh
# #,” i.e., Pine and snow, the hao or fancy name of Chao Meng-fu.
66. LANDSCAPE, WITH MANY BAMBOOS AND A PAVILION.
Painting, on silk, in colors. Signed. Height 3534”; width 16%”.
PAINTED BY KUAN TAO-SHENG. Yüan dynasty.
Kuan Tao-sheng, generally known as Kuan Fu-jen # 5: JV,
the Lady Kuan, was the wife of the famous artist Chao Meng-fu.
She also was an artist of marked ability, and was the originator of a
style of painting bamboo. We are told that “for an inch of silk or a
slip of paper (of her work) people would vie in offering large sums.
Later students took her pictures as models.” Her treatise entitled
“Bamboo in Monochrome” is still regarded as an authoritative work.
Besides the signature, this painting has an ode written upon it,
signed by Kuan Tao-sheng, and dated A.D. 1341.
67. A GLASS JAR CONTAINING FLOWERS.
Painting, on paper, in ink. Signed. Height 4736”; width 23%”.
PAINTED BY WANG YUAN. Yüan dynasty.
Of Wang Yüan H: #, Giles, who styles him “a minor painter,”
says that in 1329 he “had to paint the figure of a demon on a temple
wall over thirty feet in height. He began by submitting a sketch
which he had painted on a number of sheets pasted together, but it
was found that the arms and legs of the demon were anything but
anatomically correct. “If you will deign to take instruction from an
inferior,’ said the managing director (quoting Confucius), ‘I would
advise you first to take your measurements, and then draw a nude
figure. You can clothe it afterward.’”
This picture is signed and sealed: “Wang Yüan.” Six manu-
scripts are attached to its silk mount. Five of them are poems, and
one is a criticism: all of them are comparatively modern and there-
fore unimportant.
68. A WIND-BLOWN GRAPE—VINE IN MOONLIGHT.
Painting, on paper, in ink. Signed. Height 73"; width 2334”.
PAINTED BY WANG LIANG-CH'EN. Yüan dynasty.
No biographical information about Wang Liang-ch'en H. H. Ei is
available. The inscription upon the painting was written by him
and signed: “The host of Smoke and Mist, Wang Liang-chen.”
Impressions of two of his seals are appended.
39
69. MOUNTAIN LANDSCAPE WITH TWO LARGE TREES IN
THE FOREGROUND. .
Painting, on paper, in ink. Signed. Height 27%"; width 22%”.
PAINTED BY NI TSAN. Yüan dynasty.
Ni Tsan ſº #, known also by his literary name Yün-lin # #k,
i.e., Cloud Forest, and by the Japanese as Unrin, was one of the
leading artists of the Yüan period. He was born in 1301 and
died in 1374. Giles gives the following account of him: “He re-
fused to enter public life, and devoted his ample fortune to collecting
old books and pictures. Deeply read, he affected archaic phrases,
and used only the li script, a form of writing which disappeared from
practical life about A.D. 200. He was very timid and retiring but a
great stickler for cleanliness. Foreseeing the overthrow of the Yüan
dynasty, he distributed his wealth among his relatives and took
refuge in obscure poverty, wandering about the lakes and rivers of
Riangsu. “He loved to stay for ten days at a time in some monastery
happy enough with his shaded lamp and wooden bed. Sometimes he
would take paper and brush and sketch some such simple theme as a
bamboo or a rock. These sketches he would give away to all comers,
and the connoisseurs of the neighborhood bought them up at many
tens of taels apiece. On one occasion a servant bought some silk and a
present of money with a request that he would paint a picture. This
made him very angry and he replied, ‘I am no hireling artist, a hanger-
on at rich men's doors.’ Then he tore up the silk and sent back the
money.” -
A Chinese critic said of him: “He was extremely tense and
refined, appearing to be tender, but in reality virile. Painters of the
Sung are easy to copy; painters of the Yüan dynasty are difficult to
copy. The style, however, of painters of the Yüan dynasty can be
caught with the single exception of Ni Tsan.”
There are two inscriptions upon this painting. One at the top,
placed between two oval red seals, was written and signed by the
Emperor Ch'ien Lung (A.D. 1736–1795). It is a four line poem de-
scriptive of the landscape. The other inscription, also a descriptive
ode, was written and signed by the artist “Tsan, fifth day of the
eighth month,” year not named.
70. LANDSCAPE SHOWING A LAKE AND DISTANT PEAKS.
Painting, on paper, in ink. Signed. Height 44”; width 22”.
PAINTED BY NI TSAN. Yüan dynasty.
At the top of the picture four poems are inscribed. The first
one, in four columns, is signed and sealed by the artist himself. The
others were written by his friends in praise of the painting.
4O
71. SPRING LANDSCAPE.
Painting, on paper, in ink. Signed. Height 5234"; width 2434”.
PAINTED BY NI TSAN.
In the upper right-hand corner is a long inscription written and
signed by Ni Tsan. Mr. Ma states that it is a poetical reference to
an old man who had lived through a hard winter, and the painting
itself was used by the artist in a figurative sense to imply the old
man's joy at the coming of the Spring.
In the lower right-hand corner is an impression of the seal of
Kao Shi-chi, a late Ming and early K'ang-hsi writer who was also a
Minister of State.
72. PORTRAIT OF A PRIEST SEATED.
Painting, on paper, in ink and tint. Signed. Height 42”; width 22”.
PAINTED BY CHAO YU. Yüan dynasty.
No biographical information concerning Ch'ao Yu ş J. is avail-
able. An inscription on the left side of the painting reads: “Painted
in the hot summer days of the year Keng-Seng. [Signed] Ch'ao Yu,
and the first seal below the signature reads: “Yu-peng, Ch'ao Yu.”
73 and 74. SAGES AND ATTENDANTS IN THE MOUNTAINS.
A pair of paintings, on silk, in ink and tints. Unsigned. Height of each
40%"; width 21%’’.
ARTIST UNKNOWN. Yüan dynasty.
These paintings are without signature or seal and are unaccom-
panied by any writing.
75. POMEGRANATE TREES.
Painting, on paper, in tints. Signed. Height 62%"; width 26%.”.
PAINTED BY TANG YIN. Ming dynasty.
T'ang Yin F# #, called also Leu-ju Zºº ill, worked during the early
years of the sixteenth century. A Chinese critic says, he painted
many different subjects and all with such skill that “he was worthy to
rank with older painters, but after Li T'ang (Northern Sung),” and
adds that “in the achievement of fame his health broke down . . .
and gazing on the works he has left behind it is impossible not to
heave a sigh over his untimely fate.”
An inscription near the top of the picture is a poem written and
signed by the artist, and there are impressions of four of his seals.
4 I
SCULPTURES
76. ERECT RELIEF FIGURE OF AVALOKITECVARA AND
DISCIPLES. -
Fragment of a tablet in white marble with traces of color. The
period of the Six Dynasties. Decorations on the back of the stone
include a Bodhisatva seated between trees. ->
Height 255/6".
77. STANDING FIGURE OF KUAN-YIN(AVALOKITECVARA).
In white marble showing colors and gilding. The Six Dynasties.
From the Ku-fo-an Temple near Lu-an-fu in Shan-si.
Height 5334’’.
78. ERECT BODHISATVA WITH CIRCULAR HALO.
Gray stone with traces of color and gilding. The Six Dynasties.
Height 31%".
79. LARGE HEAD OF A TEMPLE GUARDIAN.
Black limestone, with a yellow patina. Late Six Dynasties or
early T'ang. t
Height 14%”.
80. LARGE HEAD FROM A STATUE.
Limestone with a glossy blacks patina. Late Six Dynasties or
early T'ang. *
Height 12%”. -
81. SEATED FIGURE OF THE BUDDHA OF MEDICINE, YAO
SHI # #j, CALLED BY THE JAPANESE YAKUSHI.
White marble with vestiges of green and red paint. T'ang
dynasty. Below the figure on the left side is an incised inscription
reading, “Yao Shi P'u sa Chao Te Ho Chia Kung Yang.”
Height 27%”.
42
No. 42

82. ERECT BODHISATVA.
Blackish limestone encrusted with a deposit of powdery yellow
earth. Incised inscriptions on the back and sides of the base. Tang
dynasty.
Height 2834”.
83. BUDDHIST TRINITY WITH A BODHISATVA EN-
THRONED IN THE CENTRE.
Limestone with a glossy yellow patina. On the back of the stone
is an incised upright figure of Avalokitegwara. Tang dynasty.
Height 36”.
43
JADE OBJECTS
84. JADE TABLET (HU).
This object is reminiscent of the early knife forms used by the
Chinese in the stone age, but the quality of the jade and the refine-
ment of its cutting show that it must be classified among objects
designed for ceremonial use. The orifices, which were placed accord-
ing to constellations, were for the purpose of suspending the tablet
over a coffin to keep evil spirts away.
Chou dynasty (B. C. 1122-255). Length 10%”.
85. JADE KNIFE (YA CHANG).
This form was used in the administration of military posts and
in the mobilization of troops. The two tooth-like projections sym-
bolize warfare. A specimen of this beautiful shape and color was of
high value and importance.
Chou dynasty. Length 17%"; width 5%”.
86. JADE SYMBOL (KUEI PI).
A combination of the sceptre kuei, and the disc pi used in
sacrificing to the Sun, moon, and stars. On the upper part of the
kuei near its point, stars and celestial symbols are shown; on the Cen-
tral part within the circular disc, dragons of the earth appear; and at
the base there is the ocean.
Han Dynasty. Height 10"; diameter 4%”.
87. JADE ORNAMENT WITH LOOPED HANDLE.
The design suggests the fin of a fish, along one edge, and shows
an animalistic head at the end of the looped handle.
Chou dynasty. Length 1234"; width 4”.
88. JADE TABLET (KUEI).
Possibly an early specimen of the “Chen Kuei,” symbolical of
Imperial Sovereignty and the emblem of an emperor.
This form was taken from that of the ancient axe or chisel used
by the Chinese in the stone age, but this specimen is too fine in form
and color to have been used for any ordinary purpose.
Chou dynasty. Length 8%"; width 6%.”.
44
89. JADE TABLET (KUEI).
This tablet was carried by an official when he was admitted into
the presence of the Emperor.
The Chinese believed that these jade objects were often dropped
from the clouds, hence the pattern of thunder clouds in bands on this
specimen.
Chou dynasty. Length 8”; width 2%”.
90. JADE VASE (SAN).
This is probably a production of the Sung period, the design
taken from the Chou bronze sacrificial vessels.
Sung dynasty. Height 7%”.
91. JADE TABLET (KUEI).
Carried by high officials in order to gain admittance to the Em-
peror. A specimen as beautifully proportioned and shaped as this,
and as Carefully chosen for its Color, must have been owned by a great
dignitary.
Chou dynasty. Length 9%"; width 2%".
92. JADE DISC OR RING (HUAN).
Carried by one who wished to speak with the Emperor. Used
also as a girdle ornament or sent as a gift of thanks. The Chinese
name “huan” signifies “to return or repay.”
Chou dynasty. Diameter 5%"; perforation 2%”.
93. JADE DISC (PI).
The Pi or circular disc was the symbol of heaven and was used
either during worship, or was offered to the Emperor, “the Son of
Heaven,”—by his feudal princes; or it was used for burial purposes.
Chou dynasty. Diameter 6%"; of orifice 156”.
94. JADE TABLET (HU).
Probably used as a writing tablet, or for burial purposes sus-
pended above the coffin as a protection from evil spirits.
Han dynasty. Height 434”; width 8%.”.
95. JADE DISC (PI).
Han dynasty. Diameter 6%”; of orifice 134”.
45
96. LARGE JADE CYLINDER (TATSUNG).
The square Tsung was the symbol of the earth which was be-
lieved to be square outside and round within. The Tsung was used
in the worship of the earth, and the corner designs signify its moun-
tains, valleys, and rivers. When the Tsung was black or dark green
it also became the emblem of the Empress. Tradition states that
she weighed silk (a gift of the earth) by means of the Tsung (an image
of the earth). The Tsung was also used for burial purposes.
Chou dynasty. Height 4%”; width 5%”.
97. JADE “MEDICINE SPADE” (YAO CHAN).
Chou dynasty. Height 63%"; width 434”.
98. JADE DISC (PI).
Yellow was the imperial color, and yellow discs were carried by
the Emperor. -
Chou dynasty. Diameter 6%"; of perforation 1%”.
99. DECORATED JADE DISC (PI).
The two surfaces of this Pi are studded with miniature nipples or
grains, in either case symbolizing sustenance. The bold decoration
above the disc shows the later development of the early Chou type.
T'ang dynasty. Height 85.6"; diameter 6". -
100. JADE DISC (PI).
This Pi shows the nipple design in an inner circular band sur-
rounded by dragon forms in an outer band.
º dynasty; decorated in the T'ang period. Diameter 934"; of orifice
2%’’.
101. JADE CYLINDER (TSUNG).
Chou dynasty. Height 7%"; diameter 2%".
102. JADE CYLINDER (TSUNG).
Chou dynasty. Height 678"; diameter 2%”.
103. JADE CYLINDER (TSUNG).
Chou dynasty. Height 55/6"; diameter 134”.
46
104. DECORATED JADE DISC (PIOR PUPI).
This specimen shows an inner band of basketry design surrounded
by an outer, Serpentine pattern.
Han dynasty. Diameter 5%"; of orifice 76”.
105. DECORATED JADE DISC (PI).
Dragons with bird-like heads interlaced around either surface.
Han dynasty. Diameter 636"; of orifice 2%".
106. DECORATED JADE DISC (PI).
This specimen shows on one surface symbols of the combination
of male and female elements in nature. Crudely carved dragons and
clouds are shown on the opposite surface.
Han dynasty. Diameter 6%”.
107. DECORATED JADE DISC (PI).
Han dynasty. Diameter 456”; of orifice 1”.
108. DECORATED JADE DISC (PI).
Han dynasty. Diameter 434"; of orifice 1%".
109. JADE MEDICINE SPADE.
- Chou dynasty. Length 4%"; width 4".
110. LARGE JADE DISC (TAPI).
These large discs were often used by vassal states in paying
homage to the Emperor. They were also called “Chang Pi.”
Han dynasty. Diameter 12%"; of orifice 1%".
111. LARGE JADE DISC (TAPI).
This specimen shows primitive animalistic and bird forms in-
cised on either surface. -
Han dynasty. Diameter 1056”; of orifice 2''.
112. DECORATED JADE DISC (PI).
This specimen shows exceptionally fine incised lines.
Han dynasty. Diameter 8%"; of orifice 2%".
47
113. JADE DISC (PI).
Chou dynasty. Diameter 7%”; of perforation 1%".
114. JADE KNIFE.
Treasured for ceremonial use. Objects as fine as this and the
next two specimens were never in ordinary use. *.
Chou dynasty. Length 19"; width 3%".
115. JADE KNIFE.
Chou dynasty. Length 1936”; width 3%". . .
116. JADE KNIFE. -
Chou dynasty. Length 15%”; width 4%”.
117. JADE SCEPTRE (TING ORTA KUEI).
Used for ceremonial purposes. This specimen shows its im-
portance in its size, color and form. -
Chou dynasty. Length 21”; width 4”.
48
INDEX
INDEX
The references are to the catalogue numbers
Ba En, 44.
Ba KöSo, 44.
Bantsuto-konoku, 55.
Ba Tatsu, 46.
Bayen, 44.
Bei-gen-shö, 34.
Chang Hsüan # *f, 18.
Chang Hsün ###j, 21.
Chang Kuei Šiš ##, 2.
Chang Meiß fjº, 25.
Chang Seng-yu £ ſet #, 3.
Chao Ch'ang, 33.
Chao-lieh # 3., II.
Chao Ling-jang # * iº, 31.
Chao Meng-fu ä i. 33, 15, 47,
65.
Chao Ta-nien #5 je £, 31.
Ch'ao Yu （; AE, 72.
Che Tsung #f £, 31.
Cheng Fa-shi, 5.
Cheng Roland, 7, 31.
Chia Ch'ing # 5%, 7.
Chia Shi-ku ºf Éffi H, 60.
Chiang Kuan-tao HT İf #, 28.
Ch'ien Hsüan ## #, or Ch'ien
Shun-chii ś # £, 47, 48, 64.
Ch'ien Lung, 47, 56, 69.
Ch'ien Yu-tan, 47.
Ching Hao #| #, 23.
Ch'iu Ying fji, Bº, 39.
Chotainen, 31.
Chou Fang Jāj Hi, I4.
Chou Wen-chii Jij ż żE, 64.
Chū Jan E #, 30.
Chung-cheng H IE, 32.
Chung-lang ſº H, 14.
Chū Yen, 30.
En-ryū-hon, 5.
En-ryū-toku, 8.
Fan K'uan #5 j 32.
Godoshi, Io.
Han Huang ###, 20.
Han Kan # #, IG.
Ho Ch'ung Aſſiſ 55, 57.
Hsia Kuei ºf ££, 42, 43, 64.
Hsieh Ho #} #, I.
Hsü Fen # jí, 56.
Hsü Hsi ºff ſº, 64.
Hsü Ling, 4.
Hsü Tao-ning #F # #, 27.
Hsü Ch'ung-chü # ºf #E, 64.
Hsüan Tsung (Li Lung-chi) Sº
#, Io.
5 I
Hu Kuei （; #, 24.
Huang Ch'iian if ºğ, 29, 64.
Huang Chü-pao if Jā ā, 29.
Huang Chü-ts'ai # F# X*, 64.
Huang Po-ssú # ſi kā, I4.
Huang Wen-chi, 39.
Hui Tsung # 3, 7, 41.
Hung Ku-tse # 46 ºf , 23.
I-gen-kitsu, 33.
I Yüan-chi # jū Hā, 33.
Kakkei, 42.
Rao Huai-pao ; # ºff, 59.
Risö Kötei, 41.
Ko-gai-shi, I.
Ro-kai, 24.
Rou Lung ºf ÉÉ, 49.
Ruan Fu-jen # 5: JN, 66.
Kuan Hsiu jit ſk, 22.
Kuan Tao-sheng, 66.
Ku K'ai-chih Şā tº 2, 1, 51.
Kuo Hsi #5, #, 64.
Leng Chen-jen ºf ji JV, 61.
Leu-ju 7s #1, 75.
Li Ch'eng 33 B., 26, 27.
Li Kung-lin 3 ZS fift, 37, 38, 39,
4o, 64.
Li Lung-mien 3 # F#, 27.
Li Shan 3 III, 4.
Li T'ang 35 H., 42, 75.
Li T'ieh-k'uai ž; ; #3, 62.
Liang K'ai # #, 5o.
Liu Pei žj ñ, II.
Lu mei-niang Ji jºš Āš, 57.
Lung-mien Chū-Shi, 37.
Ma Hsing-tsu Fă şi jiā, 44.
Ma Ku Kº jºi, 25.
Ma Soo, I, 4, 31, 71.
Ma Ta Fá š, 46.
Ma Yüan ##, 44, 45.
Meng Hsiu º ſº, 21.
Mi Fei X: #, 16, 34, 35, 36.
Mi Siang-yang 3K # 93, 34.
Mi Yüan-chang 3K jL #, 34.
Mokkei 44.
Mu Ch'i º ż, 44.
Mu-ein, 64.
Ni Tsan ſi #, 69, 70.
Omakitsu Öi, 12.
Pien Luan # *, 17.
Po Hsi, 35.
Po-shi ſã #, 37.
Ri-ryū-min, 37.
Ri-Sei, 26.
Ryokai, 50.
Sheng Tzú-chao Hº Hº H, 64.
Siang-yang, I6.
Su Han-ch'en # 35i Hi, 52.
T'ang Hou ###, I.
T'ang-hui, 27.
T'ang Yin Hå få, 75.
Te Tsung (Li Kua) # #, I4.
Te-yin # ſº, 22.
T“ieh Yün # 3., 56.
Ts'ao-chih （ #, I.
Ts'ao Pa * （#, I0.
Tuan Fang, I.
Tung Ch'i-ch'ang ºf H. E., 23,
34.
Tung Yüan Tà jñā, 28, 30.
Tzú-ang Sung-hsüeh ºf Hà #
#, 65.
Unrin, 69.
Wang Hia, HE #, 19.
Wang Hsio, 41.
Wang Liang-ch'en H: fá É, 68.
Wang Wei H. #, 12.
Wang Wen-chi +, × #, II.
Wang Yüan FE #, 25, 67.
Wei Yen # |#, 16.
Wö-sen, 29.
Wu Tao-tzú 5: # ºf , Io, II, 13.
Wu Tao-yiian 5: # jt, Io.
Yang T'ing-kuang # ºf jº, 13.
Yen Hsien-p'ing #j Šć Złł, 64.
Yen Li-pen #| Yr As, 5, 6, 7.
Yen Li-te #| Yr #, 8, 9.
Yüan Ch'ien É fj, 58.
Yün-lin ÉÉ #, 69.
Yu-wu, 42.
53
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