Chinese Paintings 1 The Metropolitan Museum of Art Special Exhibition of Chinese Paintings From the Collection of the Museum Catalogue by John C. Ferguson X t New York M C M X I V 1 ! m, Table of Contents Page Frontispiece Opposite Title-page . Table of Contents v List of Illustrations vii Introduction ix Catalogue Paintings 3 Albums 49 K’o Ssu 61 Appendix List of Dynasties 65 List of Divisions of Chinese Paintings . 65 Classification of Paintings .... 66 The Six Canons 67 The Six Necessities 67 The Three Faults 68 Bibliography 69 Index 71 V Digitized by the Internet Archive in 2015 https://archive.org/details/specialexhibitioOOmetr List of Illustrations Facing Page No. 1 — The Hills of Kuei-chi. Attributed to Ku K’ai-chi. Eastern Tsing Dynasty 3 No. 2 — Ladies with Fans. Attributed to Chou Fang. T’ang Dynasty . 4 No. 3 — The Ten Horses. By P’ei K’uan . 5 No. 5 — Sakyamuni. T’ang Dynasty . 6 No. 8 — Returning from a Banquet. By Ku Hung-chung. Five Dy- nasties 8 No. 14 — A Winter Landscape. By Fan K’uan. Sung Dynasty ... 12 No. 15 — A Landscape. By Tung Yuan. Sung Dynasty 13 No. 18 — Wang Ch’uan Villa. By Kuo Chung-shu. Sung Dynasty . . 14 No. 19 — Mountain Wayfarers. By Kuo- Hsi. Sung Dynasty . . . . 15 No. 23 — Portrait of Fan Chung-yen. Sung Dynasty 18 No. 26 — Meditations. By Li Kung-lin. Sung Dynasty 19 vii List of Illustrations Facing Page No. 29 — The Happy Magpies. Attributed to Ma K’uei. Sung Dynasty . 22 No. 31 — A Landscape. Attributed to Hsia Kuei. Sung Dynasty . . .23 No. 36 — Judging a Horse. Attributed to Chao Meng-fu. Yuan Dynasty. 26 No. 44 — The Three Scholars. By Fang Fang-hu. Yiian Dynasty . . 30 viii Introduction T he interest in Chinese paintings which is awakening in occidental countries evinces not so much the cosmopolitan spirit as the recognition of the universality of art. Accustomed as we had been to look to Greece and Rome as the fountain-heads from which copious streams have flowed into the less imaginative European countries, it was not without reluctance that we were obliged years ago to confess that even these early springs had been fed from higher sources that had also re- freshed the soul life of Egypt, Assyria, |and India. At a later period the charming verdure of Japanese art fields made its winning appeal to the western world as having been watered from the unfailing sources. We are now dis- covering that in addition to the high develop- ment of art in China as manifested in the beauti- ful porcelains and their prototypes, the refined potteries, there are wonderful bronzes, impres- sive statues, and masterly paintings. Thus new streams are being discovered up which we ix Introduction travel toward the common source where we find the human heart seeking to express in some art form its noblest and highest emotions. We need not search for favoring surroundings or the spirit of an age or some rare heaven-inspired genius from which we might expect art to come forth; our search need only be for the scattered haunts of man; for wherever man has lived, traces of art are to be found. Where man has evolved for himself a civilization, art has claimed its portion. In a highly developed civilization such as China has had for more than two thousand years art has flourished by the side of literature. The simple fact that it is only in recent years that we of the western world have begun to realize the importance and the extent of China’s art product does not in any way reflect upon its worth. It is only another indi- cation of the ease with which intercommunica- tion breaks down the artificial barriers, separat- ing those who in different parts of the world have been developing their nobler ideas into some form of art and who, at the same time, have not been privileged to see each other’s work. The origin of painting in China is very remote. It extends back into the classical period five hundred years before Christ; but up to the present time no traces of early specimens of this art have been discovered, though carefully preserved historical records give the names of X I htroduction early painters and many details of their works. Pictures by these early artists were frequently reproduced on stone tablets, and it is certain that as the comparison of literary records with stone monuments progresses we shall discover some valuable reproductions of early painters. The frailty of silk and paper, even though both were made with marvelous skill, has made difficult the work of preserving early specimens. The records of the Dynasties of T’ang (A.D. 6i8- 906) and of Sung (A. D. 960-1280) show that the paintings of the Wei and Tsin Dynasties of the third and fourth centuries were being copied by famous artists. The purpose of such copying was not only to recognize the worth of these earlier paintings but also to preserve them. It is due to the diligence of these copyists that we have preserved to our times accurate reproductions of the style of the work of an Emperor of the Wei Dynasty, of Ku Kai-chi of the Eastern Tsin and of Chen Tzu- ch’ien of the Sui. The authenticated examples of Chinese paintings which have been known to connoisseurs in China during the late Manchu Dynasty extend back to Li Ssu-hsuing (about A. D. 700) of the T’ang Dynasty and this date is a safe point of departure for the study of the development of Chinese painting. The tradi- tions, ideals, and canons of the earlier periods of pictorial art were preserved and transmitted by xi I ntroduction T’ang artists. It is not at all probable that we should learn any new facts about early Chinese painting, even if discoveries of specimens ante- dating the T’ang Dynasty were to be made, for the literary records and the artistic reproduc- tions of this period are fully illustrative of the earlier products. The historical records of the development of Chinese pictorial art are voluminous. They have been collected into cyclopaedic form in the P’ei Wen Chai, which gives one of the most complete collections to be found of early com- ments upon painting, of the names of painters, of colophons attached to paintings, and of other historical documents relating to this subject. The Wang Shih Shu Hua Yuan, published about 1600, is another valuable source of information, but for scholarly accuracy and careful criticism of the T’ang, Sung, and Yuan periods no book excels Ching Ho Shu Hua Fang. Professor Hirth in his chapter on Some Old Art Histories in Scraps from a Collector’s Note- book gives a valuable bibliography which con- tains almost all of the recognized authorities. I should like to add to this list the name of a book to which Professor Hirth made only a brief reference for the reason that he had not been able to procure a copy of it — Moh Yuan Hui Kuan. This book contains critical accounts of the private collection of An I-chow, a Corean xii I ntroduction resident at Tientsin where he carried on the prosperous business of a salt merchant. This collection was scattered and its contents have found their way into the hands of careful col- lectors who place high value upon anything which has met the approval of this keen Corean connoisseur. The Emperor Chien Lung pro- cured many specimens from this collection for his palace. In various places 1 have seen a score or more of these specimens, and without excep- tion all were of the highest artistic value. With historical records Chinese pictorial art is better supplied than that of any other nation. These literary records vary in value and in credibility; but after putting aside those which may be doubted, there remains a generous number of authentic critical volumes which give complete and accurate information on Chinese painting from its beginning down to the present time. It is unfortunate that these paintings have come to the knowledge of occidental collectors before the records have been available through trans- lations, but much valuable work in translation has already been done by Hirth, Giles, and Pettrucci. To those unable to read Chinese the task of collection must be guided largely by aesthetic taste, together with such information as has already been published; but as soon as the standard authorities are made available through further translations, it will be possible xiii I ntroduction for any trained critic to know accurately the correct interpretation of Chinese paintings. It thus occurs that the Chinese collector places great importance upon the records of any paint- ing of unusual merit. When he sees a picture for the first time, it is the aesthetic value which first appeals to him. If there is no such value, little further attention is paid to the picture; but if the design, the colors, the silk, or the paper used by the artist show marks of distinction, the next question which arises relates to the historical records. Is there a colophon and by whom was it written? What seals have been impressed upon the edges of the picture and to whom did these seals belong? If the colophons and seals are of men contemporary of, or im- mediately subsequent to, the artist and if the picture bears these identifications down through the following years, the picture which bears them is thus traceable in the records. It is then spoken of as choh-lu — known in the records — and its intrinsic value is greatly enhanced. The attempt to imitate seals, signatures, and colophons has been persistent for many genera- tions and great care coupled with much observa- tion is needed in order to distinguish the genuine from the spurious; but in this work the knowl- edge of textures, qualities of ink used and peculiarities of seal carving enable the critic to proceed with some degree of accuracy. xiv I ntroduction The collection of Chinese paintings belonging to the Museum was made with the purpose of representing various periods and various schools or divisions of painting. Lists of these periods and divisions may be found in the Appendix. It has not been possible to include specimens of each school in every period, but in some period there is an illustrative specimen of each school. The collection will be found lacking in the names of many famous painters, but these may be supplied during the years to come as interest in this phase of art increases. However, it is hoped that the col- lection will be found to contain sufficient variety as to periods and schools to enable the serious student to form a basis for intelligent compre- hension of an art which has only recently begun to make its appeal, while at the same time the casual visitor may see that such artistic pro- ductions rightly claim their place among the art products of men of other races. XV Catalogue Paintings I The Hills of Kuei-chi Attributed to Ku K’ai-chi (about A. D. 400) Eastern Tsin Dynasty Ku K’ai-chi stands at the head of the Great Masters in art, the other three associated with him being Lu T’an-wei, Chang Seng-yu, and Wu Cheng. He is said to have been the greatest painter, the greatest raconteur, and the greatest genius of his time. He is also known as Ku Ch’ang-kang and more popularly as Ku Hu-t’ou, which means “Tiger-head.” In Chinese picto- rial art he is considered to have been unequaled. Much of his work was done in temples as mural decoration, one of his most famous paintings being in the Wa Kuan temple at Nanking. An inscription on this scroll by the Emperor Hsiian-ho says, “ 1 have seen religious paintings by Ku K’ai-chi and also his portraitures, but this is the only specimen of his landscape work that has come to my eyes.” This specimen is probably a copy made in the T’ang Dynasty or in the earlier years of 3 Catalogue of Chinese Paintings the Sung Dynasty. The earliest seal is that of the Emperor Chen Kuang (A. D. 627-650) of the T’ang Dynasty, but it has not been possible as yet to confirm the genuineness of this seal. In the Su Hua P'ing, one of the earliest books on Chinese pictorial art, written in the sixth century A.D. (see Hirth's Notes on Old Art Historians), two pictures by Ku K’ai-chi are mentioned bearing the title “The Customs of Yueh.’' Yueh is the eastern portion of Cheh- kiang province, which according to the Empe- ror’s inscription on this picture is the region herein depicted. This is one of three known pictures ascribed to Ku K’ai-chi, one other being in the British Museum and the third in the collection of the late Viceroy Tuan Fang. See Wang Shih Shu Hua Fang, I, 25. 2 Ladies with Fans Attributed to Chou Fang (about A. D. 800) T’ang Dynasty This picture of a palace garden represents four palace ladies with their female attendants and children. The ladies exhibit conspicuously their fans, which had recently become popular. The coloring of this picture is exquisite. Dur- ing the Sung Dynasty, it was ascribed to Chou Fang; and, although there is no other evidence 4 No. ^ The Ten Horses By P’ei K’lian T’ang Dynasty Catalogue of Chinese Paintings than this inscription to verify its authenticity, yet the style agrees fully with that ascribed to Chou Fang in contemporary records. The silk upon which the painting was made is of the fine beaten type commonly used by T’ang artists. See Chhng Ho Shu Hua Fang, II, 53; T’ieh Wang Shan Hu, XVIII, 6; XIX, 9. 3 The Ten Horses By P’ei K'uan T’ang Dynasty This painting is also known by the name of Small Horses. The artist is mentioned in the Imperial Catalogue of Hsiian Ho and also in the Hua Chien of T’ang Hou published in 1 330, but little is known of his life. In ancient times horses were symbols of gentlemen, typifying the qualities of dignity, strength and obedience. A copy of this picture made by Chao Meng-fu (about A. D. 1300) is attached. It illustrates the method of Chinese artists who never sought to make exact copies but to reproduce the orig- inal idea, adapting the details to the style of the copyist. Many variations in details will be found by comparing the original and the copy. See Chhng Ho Shu Hua Fang, HI, 79; Jang Li Kuan, VII, 17. 5 Catalogue of Chinese Paintings 4 Journey of T’ien Wang (Devaradja) Unsigned. By an artist of the T’ang Dynasty (A. D. 618-906) Probably by Wu Tao-tsu Then Wang and his journeys were favorite subjects with the artists of the T’ang Dynasty. Buddhism at this time had gained supremacy in pictorial art and its subjects commanded the attention of the best artists. Paintings of such religious subjects were not only treasured by temples, but were eagerly sought after by princes and statesmen. This picture represents Devaradja taking a journey accompanied by his two servants. The faces are those of natives of India. The influence of Indian Buddhism upon Chinese art is well illustrated by this picture. It is not signed, but it is in the style of Wu Tao-tsu. It is probably his work or that of one of his pupils. 5 Sakyamuni, the Founder of Chinese Buddhism By an artist of the T’ang Dynasty (A.D. 618- 906), probably Chu Yu Sakyamuni, mighty in charity and dwelling in silence and seclusion, was the last of the Seven 6 No. 5 Sakyamuni T’ang Dynasty Catalogue of Chinese Paintings Ancient Buddhas; he is the reputed founder of Chinese Buddhism and his name stands at the head of the Buddhistic deities reverenced in China, as that of Gautama in other Buddhistic countries. On either side stands a disciple. Buddhistic subjects were much favored by the artists of the T’ang and Northern Sung Dynasties. In catalogues of these periods re- ligious paintings were rated higher than land- scapes or any other class. This picture is not signed, as it was not customary at this time for artists to attach their names to their pictures. It is probably the work of Chu Yu, who was a prolific painter of Buddhistic deities. 6 An Autumnal Grove By Yang Shen (about A. D. 720) T’ang Dynasty Yang Shen is classed among the painters of human figures in the Imperial Catalogue of Hsiian Ho but in the name of this picture written across the top of it by this Emperor — Hsiian Ho, in his own handwriting, we have his authority for ascribing a landscape to this artist. The genuineness of the picture is attested not only by this ascription but also by two imperial seals of the Sung Dynasty. Unfortunately the pic- 7 Catalogue of Chinese Paintings ture has been injured by mildew so that it is somewhat indistinct. 7 Buddhist Prayer Rolls Tang Dynasty These were written for the use of priests in their temple services and also to preserve in temples the Buddhist prayers before books had become common. These prayers are transla- tions of those used earlier by Buddhism in India. The calligraphy is mediocre and can- not equal many extant specimens of the T’ang Dynasty. 8 Returning from a Banquet By Ku Hung-chung (about A. D. 950) Five Dynasties The signature of this picture is almost obliter- ated, but can still be recognized. It is men- tioned in the Imperial Catalogue of Hsiian Ho. The life of this picture, the harmonious blending of colors, and the boldness of conception make it a striking example of early painting. Similar banqueting scenes are among the subjects of paintings by Tang and Sung artists, recalling the gaiety and dissipation of the T’ang period. See P’ei Wen Chai, LXXXII, 6. 8 No. 8 Returning from a Banquet By Ku Hung-chung Five D\nasties Catalogue of Chinese Paintings 9 The Gathering of the Feathery Tribes among Sprouting Bamboos By Tiao Kuang (about A. D. 900) Five Dynasties Tiao Kuang, who is known also as Tiao Kuang-yin, is sometimes classified in the T'ang Dynasty; but as he did not die until after the beginning of the Five Dynasties, he is more often assigned to this later period. He is con- sidered to be one of the foremost among the painters of flowers and birds (Hwa Niao). He was a native of Chang-an (Si-an-fu) in Shensi province, but he lived for many years in the province of Szechuan, where he painted moun- tain rocks, flowers, bamboos, cats, hares, birds, peacocks, and other animals. He continued painting until he was more than eighty years of age. Some of his best work was to be found in the mural decorations of temples in Szechuan. The Emperor Hsiian-ho names twenty-four of his works in the Imperial Collection, all of which were pictures of birds and flowers. Mention is made in other books of similar pictures by this artist. This scroll is attested by the seals of many well known connoisseurs. See P’ei Wen Chai, LXXXV, 27. 9 Catalogue of Chinese Paintings 10 A Buddhist Devotee By Kuan Hsiu (about A. D. 940) Five Dynasties An indistinct early ascription on the left hand border of this painting names Kuan Hsiu as the artist who painted it. Kuan Hsiu painted the Sixteen Lohan and also the Ten Disciples of Buddha and his work is highly praised in the Imperial Catalogue of Hsiian Ho as well as by Mi Fei at a later date. This painting depicts one of the Lohan attended by a servant. See Ch'ing Ho Shu Hua Fang, IV, 32. 1 1 Birds and Flowers By Huang Ch’iian (about A. D. 950) Five Dynasties The two characters Huang Ch’iian may be found on the left hand border of this painting but whether they are the artist’s own signature or an ascription by ah early connoisseur cannot be decided with present information. Huang was a pupil of Tiao Kuan-yin (see No. 10) and his work bears a strong resemblance to that of his master. Three hundred and forty-nine of his pictures are mentioned in the Imperial Catalogue of Hsiian Ho, nearly all of which were combinations of birds and flowers. 10 Catalogue of Chinese Paintings 12 Fishing By Lu Kuang (about A. D. i6o) Five Dynasties This is only a fragment of a larger picture. 1 1 was rescued by An I -chow, the author of Mo Yuan Hui Kuan, and recorded by him. It has suffered from exposure to dampness but enough of the original beauty of the picture remains to show that this artist had great ability. See Mo Yuan Hui Kuan, III. 13 A Winter Scene By Li Ch’eng (about A. D. 975) Sung Dynasty This landscape was called Han Ling, i.e. Winter Grove, in the Imperial Catalogue of Hsiian Ho, but by later writers has been called Han Ya, that is. Winter Magpies. Li Ch'eng was great master of his art. He loved to spend long periods of time wandering on lonely hills and catching glimpses of them in all their changing color effects. Specimens of his work are very rare. See under author’s name in Hsiian Ho Hua P’u; Ching Ho Shu Hua Fang, VI, 26. Catalogue of Chinese Paintings 14 A Winter Landscape By Fan K’uan (A. D. 1000) Sung Dynasty Fan K'uan is more generally spoken of as Fan Hua-yuan. He loved to spend his time in the hills and forests. His landscapes repre- sented the rugged hills of Shensi, where he lived for many years. He is recognized as one of the two founders of the Northern School of the Sung Dynasty, and is honored by Chinese collectors as being in the same class as Li Ch’eng. His paintings are noted for their strength and sublimity. See Jang Li Kuan, VI, 14; also Ch’ing Ho Shu Hua Fang, VI, 54. 15 A Landscape By Tung Yuan’(about A. D. 1050) Sung Dynasty Tung Yuan, who was a native of Kiangnan, is placed at the head of the list of the Sung land- scape painters in Hsiian-ho’s book. He was fond of painting hills, precipices, and valleys in all their varying moods, whether swept by storm or covered with clouds. When looking at his pictures, one might almost imagine himself to 12 , 1/^ ~o 1/5 c 03 C >. c Q 03 0) U- bJC c c >. D CQ CO < No. 15 A W'inter Scene By Li Ch'eng Sung Dynasty Catalogue of Chinese Paintings be in the midst of these rugged scenes of nature. Seventy-eight of his pictures are mentioned as forming a part of Hsiian-ho’s Imperial Collec- tion. This scroll is one which was presented to the Palace by Ch’ien Sze-yun. It is attested by the seals of Chao Meng-fu of the Yiian Dynasty. Compare Hua Ch’an Shih, II, 4. 16 Plumage and Fur Amid Flowers By I Yuan-chi (about A. D. 1050) Sung Dynasty I Yiian-chi was among the most noted of the painters of flowers and birds in the Sung Dynasty. He was a very prolific artist, no less than two hundred and forty-five specimens of his work being mentioned in the Imperial Collection of Hsiian-ho. All of these are pic- tures of animals or vegetable life. His picture of The Hundred Gibbons, in eight parts, is most frequently referred to as his masterpiece. In most of his pictures he combined trees and flowers with animal life. The animals, however, were intended to be the central feature, and trees and flowers were only used for the background. This scroll is attested by the seals of several well-known collectors. •3 Catalogue of Chinese Paintings 17 Instruction By the Emperor Hui Tsung (A. D. 1101-1125) Sung Dynasty This painting by the Emperor Hui Tsung is a reproduction of a T’ang Dynasty original. It represents the Emperor Ming Huang, of the T’ang Dynasty, instructing his son who stands by his side hesitating to take the books handed to him by his father. An armed attendant stands near watching the scene. The picture is full of life. The colophon written by Chao Meng-fu was lost but a copy of it taken from the P’ei Wen Chai has been made by Feng En-Kun, one of the best living writers of the Chao style. This copy is written on old paper which formed a part of the mounting of the picture done in the Ming Dynasty. See Fei Wen Chai, LX IX, 5. 18 Wang Ch’uan Villa By Kuo Chung-shu (about A. D. 975) Sung Dynasty This is a copy of a painting by Wang Wei (A. D. 699-760) of the T’ang Dynasty. Wang Wei was a peculiar character and did not care for official life though he rose to the high posi- 14 No. 19 -Mountain Wayfarers By Kuo-Hsi Sung Dynasty Catalogue of ChTnese Paintings tion of president of a board. He finally retired and took up his residence in the country, where he built himself a villa called Wang Ch’uan. After its completion he painted a picture of it and also wrote a famous poem in its praise. The original painting was lost or destroyed before the time of the Ming Dynasty, but Kuo Chung- shu of the Sung Dynasty has preserved it by this reproduction. Kuo was a famous artist and calligraphist. The poem written by Wang Wei is attached to this scroll in the handwriting of Chao Chung-mo (about A.D. 1 350), a famous artist of the Yiian Dynasty. This painting by Kuo is one of the best known specimens of Chinese pictorial art. See Lun Hua Chiieh Chii, 2; also Ch’ing Ho Shu Hua Fang, VI, 15; also T'ung Yin, VH, 16. 19 Mountain Wayfarers By Kuo Hsi (about A.D. 1050) Sung Dynasty This landscape bears the signature of its famous author. Kuo Hsi was a prolific worker, and a few specimens from his hand have sur- vived to the present time. He was an artist of first rank, and was able also to express in clear language his conceptions of the requirements of artistic work. His son, Kuo Ju-jui, made a col- 15 Catalogue of Chinese Paintings lection of the opinions of his father, and this record has been preserved and has been pub- lished in Fenolossa's Epochs of Chinese and Japanese Art. Kuo Hsi’s work combined great freedom of conception with strict adherence to artistic canons. See P’ei Wen Chai, LXXXII,29: also Wang Shih Shu Hua Yuan, I, 31 ; also Ch’ing Ho Shu Hua Fang, VI, 30. 20 Mountain Scenery By Kuo Hsi (about A.D. 1050) Sung Dynasty Kuo Hsi is more often spoken of as Kuo Ho- yang, Ho-yang being the name of his native district. He confined his work to landscape painting, and all of his thirty works which are mentioned in Hsiian-ho’s Imperial Collection are scenes from nature. The authenticity of this scroll is well attested. See No. 19 by the same artist. 21 Mountain Scenery By Kuo Hsi (about A.D. 1050) Sung Dynasty See Nos. 19 and 20 by the same artist. 16 Catalogue of Chinese Paintings 22 A Landscape By Yen Wen-Kuei (i ith century) Sung Dynasty The artist’s signature is placed on the sur- face of a tree near the end of the scroll. Little is known of the life of Yen except that he was very poor and found much difficulty in disposing of his pictures. His style is that of Li Ch’eng and his work bears a close resemblance to that of Kuo Hsi. He is said to have preferred to paint small pictures and rarely to have at- tempted to paint one as large as this specimen. Another example of his work may be seen in Album I, 6. The seal of the Emperor Hsiian Ho is affixed. See P’ei Wei Chai, LXXXH, 22. 23 Portrait of Fan Chung-yen By an Academician of the Shen Tsung period (A. D. 1068-1086) Sung Dynasty This portrait was presented to the illustrious statesman, Fan Chung-yen, in the first month of 1068 by the Emperor Shen Tsung, styled Hsi Ning. After the usual custom in the case of presents bestowed by an Emperor, it must have 17 Catalogue of Chinese Paintings been painted by a member of the National Academy of Painting. It bears an imperial inscription praising the virtues of Fan Chung- yen (989-1052), who had rendered conspicuous service to two emperors. The brocade at the top and bottom of the portrait was also made in the Sung Dynasty and is a part of an early mounting. 24 Quails By Ai Hsiian (about A.D. 1070) Sung Dynasty Ai Hsiian's work was recognized as of high grade during the reign of the Emperor Shen Tsung, 1068-1086, of the Sung Dynasty. He painted birds and flowers after the style of Hsii Hsi and Chao Chang, but his specialty was the painting of quails. In this painting are shown rare varieties of quails, which bear a striking resemblance to doves. 25 The Arhats By Li Kung-lin (about A.D. 1 100) Sung Dynasty Li is generally known as Li Lung-mien, the Dragon-faced Li.'' He was a man of brilliant 18 No. 23 Portrait of Fan Chung-yen Sung Dynasty No. 26 Meditations By Li Kung-lin Sung Dynasty Catalogue of Chinese Paintings literary parts and attained high official positions. While fond of life in the open air, he was also given to spending much time in long meditations on Buddhistic doctrines. He was the most famous painter of religious subjects in the Sung Dynasty, and a large proportion of his one hundred and seven pictures in Hsiian-ho’s Imperial Collection are Buddhistic. Many of Li’s best works were done on paper, as is this scroll which is attested by several well- known seals. A portion of the seal of the author may be seen on the edge of the paper near the lower left-hand corner of the picture. See T’ieh Wang Shan Hu, IV, 3: also Ch’ing Ho Shu Hua Fang, VI 1 , 56. 26 Meditations By Li Kung-lin (about A.D. 1100) Sung Dynasty Li is more frequently referred to as Li Lung- mien, the dragon-faced Li. He is also known as Li Pai-shih, which is the name subscribed to this specimen of his work. The figure walking in an avenue of trees is that of Wang An-shih, the noted radical statesman of the Sung Dy- nasty. 19 Catalogue of Chinese Paintings The circular seal at the top of the picture is that of the Emperor Hsiian Ho, and one of the private seals at the bottom of the picture is that of Chia Ssu-tao, the noted statesman and con- noisseur of the Yiian Dynasty. Li was a versatile as well as a brilliant artist. See Ch’ing Ho Shu Hua Fang, VH, 31, 35; also No. 25 by the same artist. 27 The Orchid Pavilion or Lan T’ing By Chao Pai-chu (XI century) Sung Dynasty This scene is one which has been painted by artists of all periods — a restful pavilion by the side of a mountain stream and surrounded by orchids. The artist is a well-known landscapist more generally known as Chao Ch’ien-li — ''the thousand-mile Chao,” a name given to him on account of the great extent of country depicted in his landscapes. This specimen bears the seals of the Emperor Kao Tsung (A.D. 1127- 1 162) of the Sung Dynasty and has two annota- tions, one of which was written by T’ang Yin (15th century), the noted artist of the Ming Dynasty. See T’ui Ang, XII, 14; also Hua Shih Lui Ch uan, XLVH, 5. 20 Catalogue of Chinese Paintings 28 A Snow Scene By Liu Sung-nien (about A. D. 1 175) Sung Dynasty Snow scenes are among the most noted sub- jects for landscape paintings by famous Chinese artists. Wang Wei, Li T’ang, Li Ch’eng, Kuo Chung-shu, and others painted such scenes. This picture is annotated by the famous artist of the Ming Dynasty, Wen Cheng-ming, who states that no other snow scene painting excels this of Liu Sung-nien. Liu was made a member of the National Academy of Painting during the reign of the Emperor Kuang Tsung (A. D. 1190-1195) of the Sung Dynasty. His work is highly prized by Chinese collectors. See Jang Li Kuan, 111 , 17. 29 The Happy Magpies Attributed to Ma K'uei (A. D. 1200) Sung Dynasty The trees and rocks of this picture are in the style of Ma Yiian, who was the younger brother of Ma K’uei, but the magpies in flight show the hand of Ma K'uei. Several members of the Ma family in different generations attained to high eminence as painters and they all followed the 21 Catalogue of Chinese Paintings same general style, but Ma K'uei was the most skilful of them in painting birds in flight. In landscape work he belonged to the Southern Sung School. 30 A Mountain Retreat By Ma Yuan (A.D. 1200) Sung Dynasty In the painting of landscapes, human figures, flowers, and birds, Ma Yiian is said to have been the best of the academicians of his time. He belonged to a famous family of painters, of which several were members of the National Academy of Painting. He was fond of paint- ing quiet scenes into which he projected great strength. The picture is unsigned, but the style and strength of execution suggest Ma Yiian. His style was copied by later artists and has been much favored in Japan. 30a Under the Rock In the style of Ma Yiian (A.D. 1200) Sung Dynasty See No. 30. 22 No. 29 The Happy Magpies Attributed to Ma K’uei Sung Dynasty S A Landscape Allributcd to Hsia Kiici Sung Dynasty Catalogue of Chinese Paintings 31 A Landscape Attributed to Hsia Kuei (about A.D. 1200) Sung Dynasty Hsia Kuei was a close friend of Ma Yuan and the works of these two artists bear close re- semblance to each other. Hsia’s work is bold and virile after the style of Fan K'uan. He was a noted scholar and a member of the Hanlin Academy. His human figures are well painted. This scroll was cut into two pieces by a previous owner, who also probably added the name of Hsia Kuei as the author. There is much about the treatment of the mountains and trees to suggest Ma Yiian as the author; and traces of the sides of the signature which has been cut away also suggest this author. Compare Ch’ing Ho Shu Hua Fang, X, 38. 32 Pine and Stork By an unknown artist Sung Dynasty 33 Tiger and Dragon By an unknown artist Sung Dynasty 23 Catalogue of Chinese Paintings 34 A Tiger By an unknown artist Sung Dynasty Although the name of the artist cannot be ascertained with certainty, the painting is in the style of the great Taoist priest, Li Kuei-chen, of the Five Dynasties. On the lower left-hand side of the picture there have been written, probably by some owner, the two characters Tao Ssu, meaning Taoist priest and thus evinc- ing a belief that the painting is in the style of Li. The work seems, however, rather to re- semble that of Sung artists. The painting bears the seal of To-hoan, the ninth son of the Emperor Kublai of the Yuan Dynasty; he was sent by his father on expedi- tions against the Cambodians and in 1287 against the Annamese. 35 The Tangut Horseman Probably by Chao Meng-fu (about A.D. 1300) Yiian Dynasty Chao is more often known as Chao Tsu-ang and Chao Sung-hsueh, the latter title meaning “Pines and Snow.’' A descendant of the imperial family of the Sung Dynasty, he rose 24 Catalogue of Chinese Paintings to high position during the reign of the first emperor of the Yiian Dynasty. He is one of the most popular artists of China, this being due, in a measure, to his additional reputation as a beautiful penman. He is usually classified by Chinese critics along with the best of the Sung artists. The original of this picture was painted by Hu Chhen, a Kitan Tartar, son of Hu Huan, whose works are mentioned in Hsiian Ho Hua P’u. Although the picture is not signed it is in the style of Chao. 36 J udging a Horse By Chao Meng-fu (A.D. 1254-1323) Yuan Dynasty This is a reproduction of a famous picture by Han Kan (about A.D. 750), of the T’ang Dy- nasty. Han Kan said that the horses in the stables of Emperor Then Pao (742-756) were his “teachers” of painting. Chao’s painting is annotated by himself. He says that Han Kan’s picture was purchased by his relative Ko and that he made this reproduction on the second day of the eighth moon, 1 306. Chao was not only a great painter but also a noted calligraphist. This painting is an excellent specimen of his work. 25 Catalogue of Chinese Paintings 37 Eight Horses Attributed to Chao Meng-fu (about A.D. 1300) Yiian Dynasty This picture is unsigned, but has been credited by the annotation to Chao Meng-fu, the greatest artist of the Yiian Dynasty and worthy to be classed with the good artists of the Sung period. This picture is a reproduc- tion of a famous picture of Shi Tao-shih of the Sung Dynasty. The horses are of the same type as those seen in Sung pictures. Chao is one of the most popular artists in China. See P’ei Wen Chai, LXXXV, 10. 38 The Great Arhat By Chao Meng-fu (about A.D. 1300) Yuan Dynasty The vivid coloring of this picture is a faith- ful representation of the bright-colored garments worn by Buddhistic priests. Chao Meng-fu was among the boldest and least restrained of all Chinese artists. His human figures have wonderful animation. He is considered to have been the peer of the Sung masters and to stand at the head of the artists of the Yiian Dynasty. See Ch'ing Ho Shu Hua Fang, V, 32. 26 Catalogue of Chinese Paintings 39 A Halt for Rest In the style of Chao Chung-mu (about A. D. 1350) Yiian Dynasty Chao Chung-mu was the son of Chao Meng-fu, with whom he frequently collaborated; and though his work did not equal that of his father, yet it attained to a very high standard. He was fond of sketching trees and horses and this picture is typical of his style. Compare Ch’ing Ho, X, 54, Vhere a similar picture is ascribed to this artist's father, Chao Meng-fu. 40 Home Again By Ch'ien Hsiian (about A. D. 1275) Yiian Dynasty The subject of this painting^is the return to his home of T’ao Chien. He was appointed to the position of a district magistrate, but he served only a short time as he objected “to re- ceive a superior officer with the usual ceremonial on the ground that he could not crook the hinges of his back for five pecks of rice a day," such being the regulation pay of a magistrate. The picture shows the Five Willows mentioned in the poem of T'ao Chien, which is copied by the artist at the end of the picture. T'ao's 27 Catalogue of Chinese Paintings wife is standing in the gate. This picture is one of the best known in the records of Chinese art; it bears on its face an annotation by the Emperor Ch’ien Lung and also has the seals of famous connoisseurs who have seen it. See Mo Yuan Hui Kuan, 111 . 41 A Beautiful Grove By Ch’ien Hsiian (about A. D. 1275) Yiian Dynasty Ch’ien Hsiian is more generally spoken of as Ch’ien Shun-chu. Disappointed at the rise of the Mongol Dynasty, he turned his literary talents towards poetry and painting. In portraits and painting of flowers he copied the work of Chao Ch’ang, and in landscape that of Chao Ch’ien-li. This scroll is an example of the elegant finish of his work, and represents a noted garden of the T’ang Dynasty, called Ch’ing T’ang Yiian. See P’ei Wen Chai, LXXXV, 22, where the name of this picture is said to be Watching the Geese, also see Nos. 40 and 41. 42 Solitude's Charm By Ni Tsan (A. D. 1301-1374) Yiian Dynasty An annotation by the artist in his own hand- writing explains that the scene is a lonely hut 28 Catalogue of Chinese Paintings in a mountain ravine at the time of full moon in July. Thither the artist had resorted to seek cool refreshing breezes. Although a man of wealth he preferred to spend his time among the recluses of hill temples and he distributed his money among his relatives. He is known as '‘Cloud-Forest” — Ni Yun-ling. See Tui Ang, XIV, 6. 43 The Three Scholars By Fang Fang-hu, a noted Taoist Priest (about A. D. 1380) Yiian Dynasty The original of this picture was made by the Buddhist priest Miao Shan of the Sung Dy- nasty, and it was kept in a temple. After this temple was destroyed by fire, the annotator of this picture. Sung Yung, requested his brother priest Fang to reproduce it. In the center of the picture is Su Shih (Su Tung-po, 1036-1 loi), the noted poet and official of the Sung Dynasty. At the left of the picture is his brother, Su Che (Tzu-yin, 1039-1112), who was also a noted scholar and a devotee of Taoism. On the right of the picture, leaning over and holding a scroll in both hands, is their brother-in-law, Ch’in Kuan (Hsiao-yin, 1049- 1 101). 29 Catalogue of Chinese Paintings 44 Bamboo Sketches By Wu Chen (about A.D. 1400) Yiian Dynasty This scroll in seven parts is one of a series of ink sketches of bamboo scenes made by Wu Chen. Wu Chen is more often spoken of as Wu Chung-kuei or as Mei Tao-jen, the latter title meaning “ Plum Priest.'' He painted a few landscapes, but such work did not allow him sufficient freedom for his brush, which was at its best in sketches of bamboos. Each one of the seven scenes of this scroll is annotated by Wu Chen himself, and his two well-known seals are attached to each annota- tion. Compare P'ei Wen Chai, LXXXVl, 19. 45 Wind and Water By Fang Fang-hu (about A. D. 1380) Yiian Dynasty See No. 43. 45a Wind and Water By Fang Fang-hu (about A. D. 1380) Yiian Dynasty See No. 45. 30 No. 43 The Three Scholars By Fang Fang-hu Yuan L)\nasty Catalogue of Chinese Paintings 46 Family Training By Wang Cheng-p'eng (about A. D. 1 320) Yuan Dynasty The artist is the most distinguished painter of measured paintings — chieh hua, after the time of Kuo Chung-shu. His carefully-drawn pictures of pavilions and court-yards are in exact proportions. Ten views of family train- ing are pictured and each of these views is explained in the accompanying annotation. Wang was a great favorite at the court of the Mongol Emperor, Ayuli Palpata. 47 A Lady By an Unknown Artist Yiian Dynasty Figures of beautiful ladies, such as this, are known by the Chinese as “Mei-jen.” 48 Watching the Phoenix By an Unknown Artist Yiian Dynasty The figures in this picture are very striking, and their dress is that of the Mongols. 31 Catalogue of Chinese Paintings 49 Women in Garden By an Unknown Artist Yiian Dynasty 50 A Landscape By Wang Fu (about A.D. 1400) Ming Dynasty Wang Fu is usually known as Wang Meng- tuan. He also liked to sign himself ''The Man of the Nine Dragon' Hills'’ (Chiu-lung Shan-jen). This scroll is signed and dated by his own hand and is further attested by the seals of several well-known collectors. This artist was fond of copying from early masters. 51 A Large Landscape By Shen Chou (about A.D. 1475) Ming Dynasty Shen Chou is always spoken of as Shen Shih-t’ien, which means "Shen of the Rocks and Fields.” He was a native of Changchow on the Grand Canal north of Soochow. He was an ardent disciple of Wu Chen of the Yiian Dy- nasty. He was fond of painting large-sized 32 Catalogue of Chinese Paintings pictures, and this picture would have been con- sidered small by him. This scroll is annotated and signed by the artist himself. 52 A Large Landscape By T’ang Yin (about A.D. 1525) Ming Dynasty The two names usually given to T'ang Yin are T’ang Pai-hu and T’ang Liu-ju. He is classed with Shen Chou as being one of the two greatest artists of the Ming Dynasty. He was so devoted to his art that his health broke down at a comparatively early age. He was a painter of large-sized landscapes, but perhaps he ex- celled in small sketches. T'ang Yin was a native of Kiangsu province. He attained emi- nence also as a literary man. This picture is annotated and signed by the artist. 53 Solitary Meditation By Wen Cheng-ming (about A. D. 1550) Ming Dynasty Wen Cheng-ming had a distinguished an- cestry and was himself a noted scholar. Though he rose to high rank in the Hanlin Academy, 33 Catalogue of Chinese Paintings he was not fond of his olficial friends and studiously avoided them. He was of an ascetic disposition and in his poetry rebuked the dis- play and luxury of the wealthy. The scene in the picture represents one of his favorite moods. An old scholar is sitting by the running brook with books at his side and attended only by a servant. Wen’s paintings are full of gentle- ness and charm. 54 A Landscape By Wen Cheng-ming (about A. D. 1550) Ming Dynasty See No. 53. 55 Classic Gem By Ch’iu Ying (about A. D. 1556) Ming Dynasty Ch’iu Ying, known as Ch’iu Shih-chou, was a distinguished painter of human figures. His work is highly prized and has been copied more frequently than that of any other artist of the Ming Dynasty. The silk on which this picture is painted is of the same yellow hue which Ch’iu Ying always used in his work. 34 Catalogue of Chinese Paintings 56 The Arhat By Cheng Chung (about A.D. 1500) Ming Dynasty Cheng Chung lived at Nanking. He was fond of making copies of Buddhistic paintings in the style of the Sung and Yuan Dynasties, and was himself a devoted disciple of Buddhism. 57 Watching the Fountain By Chii Chieh (A.D. 1550) Ming Dynasty Chii Chieh was a pupil of Wen Cheng-Ming, whose style he followed. This picture has an annotation by the Emperor Ch’ien Lung and one by the artist in which he explains that this is the first picture made by him after a prolonged illness. 58 A Moonlit Valley By Ku 1 -teh (about A. D. 1650) Ming Dynasty Ku 1 -teh painted in the style of Wang Meng — Yellow Crane, of the Yuan Dynasty. This picture is a reproduction of one by Wang Meng 35 Catalogue of Chinese Paintings and faithfully represents the work of the original artist. Ku I-teh was a contemporary and townsman of Tung Ch'i-ch'ang, whose annota- tion is at the right-hand upper corner of this picture. Both were natives of Sung-kiang near Shanghai. 59 An Autumnal Grove By Lu Chi (A.D. 1496-1576) Ming Dynasty This landscape is in the style of Ni Tsan of the Y iian Dynasty. Lu Chi is one of the best artists of the Ming Dynasty. His landscapes are rarely found, as his work more frequently de- picted flowers and birds, bamboos and rocks. This specimen has suffered from the ravages of mildew. 60 Domestic Felicity By Ts’ui Tsu-chung (A. D. 1630) Ming Dynasty The artist was a native of Shantung Province but removed southward in order to study under Tung Ch’i-ch’ang (see 63). He was an ascetic and wore clothes which were made after 36 Catalogue of Chinese Paintings ancient styles. In this picture the clothes are in the style of the T’ang Dynasty. 61 A Leave-taking at the Riverside By Ting Yun-p'eng (about A. D. 1575) Ming Dynasty Ting Yun-p’eng is more often spoken of as Ting Nan-yiu, which means “Ting of the South- ern Plumes.'’ He was a painter of Buddhistic scenes, but more frequently he represented land- scapes in which he placed human figures. The studied details of these figures indicate that the artist used landscape only as a background for his figures. The signature and seals of the artist are attached to this picture. 62 A Cockatoo By Lady Ch’en (about A. D. 1600) Ming Dynasty Lady Ch'en, in the later years of her life, signed her pictures by the name of Nan-lou Lao-jen, '‘The Old Lady of the Southern Tur- ret.” She excelled as a painter of flowers and birds. From her home at Hai-ning, east of Hangchow, she sold her pictures to support her- self and those dependent upon her. Her work has been highly praised by later artists. 37 Catalogue of Chinese Paintings 63 A Landscape By Tung Ch’i-ch’ang (about A. D. 1650) Ming Dynasty Tung is a favorite artist, and is known also by the names Tung Wen-min, Tung Hsiang- kuan, and Tung Sze-ung. His pictures are usually signed Tung Hsien-tsai. Fond of liter- ary pursuits, he rose to the high position of President of the Board of Rites. His home was at Sung-kiang near Shanghai. His landscapes are characterized by beauty and grace rather than sublimity and strength. He copied the great artists, and this picture, according to his own annotation, is modeled after the style of Huang Kung-wang. Tung is generally considered to have been the greatest of the Ming Dynasty artists. 64 Mountain Scenery after the style of Mi Fei A. D. 1051-1107) By Tung Ch’i-ch’ang Ming Dynasty Tung Ch’i-ch'ang has left this picture after the style of Mi Fei. Mountains partially covered with clouds and mist were favorite subjects with Mi Fei. Genuine specimens of Mi’s work 3 « Catalogue of Chinese Paintings are almost unknown, so that this reproduction of the style of his work by a great artist is valu- able. See No. 63. 65 A Landscape By Wen Pai-jen (A.D. 1550) Ming Dynasty The artist was a nephew of Wen Cheng-ming and his work is considered to be not inferior to that of his uncle, who was his teacher. The landscape is that of central China, where the hills are not so rugged as those of the north, found in the pictures by Kuo Hsi. See No. 19. 66 The Divining Beggar By Wu Wei (about A.D. 1475) Ming Dynasty Wu Wei is more generally spoken of as Wu Hsiao-hsien. Though also a landscape painter, he excelled in the painting of human figures. He was an excellent penman and attained the highest literary degree. He was a great favorite at court, as he was able to paint offhand on fes- tive occasions. This scroll bears the seals of the Emperor Ch’ien-lung. 39 Catalogue of Chinese Paintings 67 Fishing with Family By an Unknown Artist, Ming Dynasty An angry fisherman is scolding his wife, who is engaged in paying out the line while annoyed at the same time by the pranks of a small son. The boat is being carried to and fro by currents. 68 Western Garden By an Unknown Artist Ming Dynasty The Western Garden where noted literary men are represented as gathering for friendly dis- course and companionship has been a favorite theme with artists. Paintings of this garden were made by Li Lung-mien, Chao Meng-fu and Ch’iu Ying. This picture was probably painted by a pupil of Ch’iu Ying. 69 Making the Toilet By an Unknown’^Artist Ming Dynasty The seal of the owner of this' picture on the upper left hand corner has^been'^cut out, prob- ably because he had fallen into official disgrace 40 Catalogue of Chinese Paintings or bore a bad reputation. The famous con- noisseur of the Ming Dynasty, Yen Sung (i 568), usually attached his seal to the pictures owned by him. After his dismissal from office by the Emperor and the confiscation of his property it became customary to cut off his seals from pic- tures, to which they had been attached, in token of disapproval of his treacherous conduct. This picture is a good example of the genre of the Ming Dynasty. Pictorial art in China reached its lowest level in this class of paintings. 70 A Landscape after the style of Li Ch’eng By Wang Hui (about A. D. 1632-1720) Ch’ing Dynasty Wang Hui, known generally as Wang Shih- ku, was one of the four Wangs who are univer- sally considered to stand foremost among the artists of the late Ch’ing Dynasty. Of these four men Wang Shih-ku is the most popular and his authentic works are most eagerly sought after. Having by nature an artistic tempera- ment, he early began the study of the great masters whose work he faithfully copied. He lived to a ripe old age, this picture having been painted by him when he was seventy-one years old; this fact is attested both by his seal and by his handwriting. 41 Catalogue of Chinese Paintings 71 A Landscape By Wang Hui (about A.D. 1632-1720) Ch’ing Dynasty See No. 70. 72 A Rest House amid Bamboos By Wang Hui (A. D. 1632-1720) Ch’ing Dynasty This is a reproduction by Wang Hui of a picture painted by T’ang Yin of the Ming Dynasty. Wang Hui was a diligent student of the masters of earlier dynasties; and though he could not equal them, he succeeded in catching much of their spirit. His paintings exhibit delicate refinement rather than boldness or strength. See Nos. 70 and 71. 73 A Landscape By Wu Li (A. D. 1632-17) Ch’ing Dynasty Wu Li, known as Mo-tsing, the four Wangs, and Yun are classed as the Six Great Artists of the Ch’ing Dynasty. Specimens of Wu’s work are rare, and highly 42 Catalogue of Chinese Paintings prized on account of the beautiful handwriting with which he always annotated his pictures. In one of his paintings he collaborated with Wang Shih-ku. He became a convert to Christianity, and was a catechist in the Siccawei Mission, Shanghai, for several years. He died at Siccawei and is buried outside of the South Gate of Shanghai. 74 Orchid Pavilion or Lan T’ing By Hua Yen (17th cent) Ch'ing Dynasty Hua Yen is usually spoken of by his pen-name Hsin Lo. A native of the mountainous districts of Fukien Province, he spent many years of his life in the fertile plains of Yangchow. His work is valued on account of its combination of charm with strength of execution. See No. 27, where the same subject has been painted by a great artist, Chao Pai-chii. 75 A Landscape By Yun Shou-p’ing (A. D. 1633-1690) Ch’ing Dynasty Yun Shou-ping, or Yun Nan-t’ien as he is more generally styled, was a native of Wu-tsing, Changchow, on the Grand Canal north of 43 Catalogue of Chinese Paintings Soochow. He came from a distinguished literary family and early devoted himself to painting. He tried to excel Wang Shih-ku as a painter of landscape, but finally gave up the attempt saying that he was not ashamed to take second place. In his later life he painted chiefly flowers in bud and bloom. Genuine specimens of his landscape work are very rare. 76 Flowers and Rocks By Hua Yen (17th century) Chhng Dynasty See No. 75. 77 Deer Horns By the Emperor Ch’ien Lung Ch'ing Dynasty This pair of scrolls is not only an example of the artistic ability of the Emperor Ch’ien Lung, but also illustrates the fondness for out-door life which characterized the early Emperors of the late Manchu Dynasty. The first scroll represents the horns of a stag killed by the Emperor K’ang Hsi in 1710 during one of his hunting trips near the Great Wall. The horns are described as having been 7 feet 9 inches from 44 Catalogue of Chinese Paintings tip to tip. The second scroll illustrates the fact that deer do not always drop their horns in early summer but that this sometimes happens in winter. An instance of this came under the Emperor’s personal observation in the Southern Hunting Park near Peking and the incident is described in the annotation. The annotations of both scrolls are in the hand- writing of the Emperor Ch’ien Lung. 78 A r h a t s By Tao-tsi (about A. D. 1650) Ch’ing Dynasty Tao-tsi was a monk and worked under several names, of which the most widely known are Shih-tao and Ta-t’i-tsz. He traveled widely in Kiangsu and Chehkiang provinces. He was a prolific artist, fond of landscapes and por- traitures. This scroll is after the style of Li Lung-mien of the Sung Dynasty. 79 A Hunting Scene By Joseph Castiglione (Lang Shih-ning), a Portuguese (1698- ) Castiglione was a court painter during the reign of the Emperor Ch’ien Lung. He studied 45 Catalogue of Chinese Paintings Chinese painting, and under the orders of the Emperor attempted to combine Western and Chinese standards by painting animals in a landscape according to Western methods, while the landscape itself followed Chinese standards. 8o Fawn at Play By Joseph Castiglione (Lang Shih-ning), a Portuguese ( 1 698- ) See No. 79. A Hunting Scene by the same author. 81 A Landscape By Lo Ping (about A. D. 1733-1799) Chhng Dynasty A native of Yangchow, Lo Ping is more gen- erally known as Lo Liang-fen or “ Lo of the Two Peaks.” He was fond of painting demons and sprites, but his best work was in his landscapes, in which he followed the style of Wang Shih-ku. 82 A Landscape By Tan Sung Chhng Dynasty This is in the style of Kuo Hsi. 46 Catalogue of Chinese Paintings 83 A Landscape By T'ang I-fen Ch’ing Dynasty T’ang I-fen (T’ang Yu-seng) was a native of Wu-tsing, Changchow, on the Grand Canal, but spent most of his life at Nanking, where he perished in 1853 during an assault on the city by the Tai-ping rebels. In addition to his land- scapes he was fond of painting peach blossoms and other blooming flowers. 84 A Landscape By Chang Keng (about A.D. 1725) Ch’ing Dynasty Chang Keng was the compiler of a history of art, Hua Cheng Lu. He was not a famous painter, but this picture is interesting on ac- count of its being the work of a man who was familiar with the best specimens of pictorial art. 47 Albums 85 Sung Yiian Album Sixteen paintings by various artists (a) Worship of Kwan Yin. Unsigned; by an artist of the Sung Dynasty after the style of Wu Tao-tzu (b) Listening by the Fountain. Unsigned; probably by Chao Chhen-li or his brother Chao Hsi-yiian, relatives of the founder of the Sung Dynasty (A.D. 960) (c) A Palace. Unsigned; probably by Li Tang (about A. D. 1100). Sung Dynasty (d) Welcome to the Dew. Unsigned; prob- ably by Hsii Tao-ning (about A. D. 1000). Sung Dynasty (e) Autumnal Hills. By Chou Mi (about A. D. 1125). Sung Dynasty (f) The Palace in the Woods. By Yen Wen- kuei (about A. D. 1000). Sung Dynasty This small picture bears the seal of the Emperor Hsiian-ho. The painter 49 Catalogue of Chinese Paintings Yen was a favorite of the founder of the Sung Dynasty, who promoted him to be a member of the Imperial Acad- emy of painting. Examples of his works are rare. (g) Sea-shore. Probably by Hsii Ching (about A. D. I loo). Sung Dynasty Hsii Ching was the favorite of the Emperor Hsuan-ho, who promoted him to a high position in the capital and afterwards appointed him Minister to Korea. (h) A River Bridge. After the style of Ma Yiian (about A. D. 1200). Sung Dynasty (i) Wind Blown. After the style of and prob- ably by Chao Ch’ang (about A. D. 1025). Sung Dynasty. The exquisite coloring of this picture makes it a rare example of the highest quality of the Sung Dynasty pictorial art. (j) Hydrangeas. By Huang Chii-tsai (about A. D. 1000). Sung Dynasty Huang Chii-tsai was the son of the great artist Huang Chiian, who was him- self famous for his paintings of birds and flowers. This painting bears an annota- tion by the Emperor Hui-tsung. 50 Catalogue of Chinese Paintings (k) A Bunch of Purple Lichees. By Hsii Tsung (about A. D. 1050). Sung Dy- nasty Hsii Tsung was a grandson of Hsii Hsi, the noted painter. This picture is annotated by the Emperor Hui Tsung (1100-1126) of the Sung Dynasty in his own handwriting. ( l ) The Light of Spring. Probably the work of Wang Yin (Wang Chung-i). Sung Dynasty Wang Yin was a pupil of Chao Ch’ang. (m) Autumnal Splendor. By Rung Chu-fai. Sung Dynasty (n) Fish at Play. By Chao K’eh-hsiung. Sung Dynasty (o) The Moaning of the Monkey. Probably by the artist, Wen Hsin. Yiian Dynasty In imitation of Japanese work. (p) The Tiger at the Fountain. Probably by Pao Ting. Sung Dynasty 86 Sung Yuan Album Twelve paintings by various artists (a) The Orchid Pavilion Restored. By Li Lung-mien (about A. D. 1100). Sung Dynasty 51 Catalogue of Chinese Paintings (b) Red Lichees. By Emperor Hui Tsung (A. D. 1 101-1126). Sung Dynasty (c) Purple Lichees. By Emperor Hui Tsung (A. D. 1 101-1126). Sung Dynasty (d) Bamboos. By Su Shih (A. D. 1036-1101). Sung Dynasty (e) A Sketch. By Chang Ko-kuam (about A. D. 1350). Yuan Dynasty (f) A Mountain Turret. By Li Sung. Sung Dynasty (g) A Sketch. By Wu Ping. Sung Dynasty (h) Emit and Elowers. By 1 Yiian-chi (about A.D. 1050). Sung Dynasty (i) A Pastoral Scene. By Li Ti (about A. D. 1125). Sung Dynasty (j) A Sketch. By Hsia Kuei (about A. D. 1200). Sung Dynasty (k) The Guitar. By Wu Ping. Sung Dy- nasty ( l ) The Lonely Stork. By Chao Chung-mu (about A.D. 1250). Yiian Dynasty 87 Sung Album By 1 Yiian-chi (see No. 18) Album containing twelve author’s proofs for the backs of bronze mirrors which were much used in the Sung Dynasty. It is probable that Catalogue of Chinese Paintings the conventional border around the designs was made by some one other than the artist, I Yuan-chi, who painted the pictures. (a) The Astrologer (b) One of the Genii (c) Unicorn (d) White Elephant (e) Chien Lo (f) Feng Lai (g) The Three Hills (h) The Lonely Tower (i) Keng Chi (j) Ripe Peaches (k) Cinnamon ( l ) Evergreen 88 Album Containing Eleven Paintings By various artists (a) Washing a Horse. By Lu Ch’ing (A. D. 1200). Sung Dynasty (b) Pomegranates. By Ma Lin (A. D. 1250). Sung Dynasty (c) The Flower Vendor. By an unknown artist. Sung Dynasty (d) Bamboos. By Kuan Fu-jen, wife of Chao Meng-fu (A. D. 1254-1323). Yiian Dynasty 53 Catalogue of Chinese Paintings (e) A Landscape. By Ts'ao Chih-pai (A. D. 1250). Sung and Yiian Dynasties (f) A Rabbit. By Wang Yiian (A. D. 1330). Yuan Dynasty (g) A Landscape. Attributed to Chao Meng- fu (A. D. 1254-1323). Yiian Dynasty (h) Caribou. Attributed to Li T'ang (A. D. 1200). Sung Dynasty (i) A Landscape. By Ma Wan (A. D. 1350). Ming Dynasty (j) Serenity. Attributed to Chao Fei (about A. D. 1200). Sung Dynasty (k) A Landscape. By an unknown artist. Ming Dynasty 89 Album of Flowers and Birds Twelve paintings by various artists Sung and Yuan Dynasties 90 Album of the Ten Disciples of Buddha Ten paintings by Sung (A. D. Hsii 1575) Ming Dynasty 54 Catalogue of Chinese Paintings 91 Album of Fans Ming Dynasty Volume I (with woven silk picture of a deer on the cover). Twenty-four paintings and writings by various artists (a) Written by Tung Ch’i-ch’ang (b) Painted by Shen-chou (c) Written by Fan Yuan-ling (d) Painted by Ch’en Chi-ch’un (e) Written by Ch’en Ch’i-ju (f) Painted by Wu Pin (g) Written by Li Ch’iao (h) Painted by Shao Mi (i) Written by Wen Tsung-chien (j) Painted by Chang Chung (k) Written by Yuan Yung-chi (l) Painted by Chi Chien-chia (m) Written by Chou Tien-chin (n) Painted by Sie Shih-chou (o) Written by Chen Hung-shou (p) Painted by Pan Yun-i (q) Written by Yang Wen-tsung (r) Painted by Chuang Hui-seng (s) Written by Kung Ting-tzu (t) Painted by Wen Chih (u) Written by Wang Mou-Ling (v) Painted by Han Tao 55 Catalogue of Chinese Paintings (w) Written by Yiian Ta-chen (x) Painted by Chen-kuo 92 Album of Fans Ming Dynasty Volume 2 (with woven silk picture of a stork on the cover). Twenty-four paintings and writings by various artists (a) Written by Ch'a Szu-piao (b) Painted by Lu K’eh-ch’eng (c) Written by Wen Tao-ch’eng (d) “ Painted by Wen Cheng-ming (e) Written by Ch’en Tao-fu (f) Painted by Sung Hsii (g) Written by Ch’en Ming-hsia (h) Painted by T’ang Yin (i) Written by Wang To (j) Painted by Hsiang Sheng-mo (k) Written by Wen San-chhao (l) Painted by Lang-tan (m) Written by Wang Chih (n) Painted by Lu Chih (o) Written by Peng Nien (p) Painted by Sung Mo-tsin (q) Written by Wang Ch’ung (r) Painted by Lan Ying 56 Catalogue of Chinese Paintings (s) Written by Wu K'uang (t) Painted by Cheng Chia-sui (u) Written by Wen Ch’eng-ming (v) Painted by Wen Chia (w) Written by Yii Lien-ju (x) Painted by Li Liu-fang 93 Album of Fans Ching Dynasty Six paintings by various artists (a) Painted by Wang Hui (A.D. 1632-1720). The name of this painting is “Studying.'' According to the statements of the artist, it is a reproduction of the work by Yen Wen-kuei of the Sung Dynasty (b) Painted by Wang Yuan-chi (A.D. 1642- 1715). This fan was painted by Wang during his residence in Peking, where he held high office (c) Painted by Wang Shih-ming (A.D. 1592- 1680) (d) Painted by Wang Chien. (A.D. 1598- 1677). This picture is after the style of the Emperor Hui Tsung of the Sung Dynasty (e) Painted by Wang Hui (A.D. 1632-1720). The artist states that this picture was 57 Catalogue of Chinese Paintings painted by him when he was seventy- five years old (A.D. 1707). It is after the model of the famous picture entitled “Gathering Water Chestnuts “ by Ch’iu Ying (f) Painted by Yun Shou-p'ing (A. D. 1633- 1690). Landscape scenes by this artist are rare, his work consisting chiefly of paintings of flowers. In the annotation written by his own hand, he eulogizes the landscape paintings of Mi Fei and Ni Tsan 94 Students' Album Twelve paintings by Tsao Jun (about A.D. _ 1750). Ching Dynasty (a) Style of Wang Wei (b) Style of Tung Yuan (c) Style of Kuo Hsi (d) Style of Wang Meng (e) Style of Li Ch'eng (f) Style of Kao K’o-Kung (g) Style of Liu Sung-nien (h) Style of Ts’ao Chih-pai (i) Style of Chao Meng-fu (j) Style of Huang Kung-wang (k) Style of Huang Kung-wang (1) Style of Shen Chou 58 Catalogue of Chinese Paintings 95 Album In the style of Li Lung-Mien (lo leaves) 59 K’o Ssu K’o Ssu may be described as tapestry or silk- woven pictures. The models for these pictures were made by artists and the weaving was done with the picture in front of the artisan. The warp or woof was broken off at the point where a change of color was desired and a new thread attached. Such work is commonly used in fabrics designed to make court dresses, but good examples of this kind of pictures are rare. Dur- ing the Sung Dynasties there were two great artists, Chu Ko-gui and Shen Tzu-fan, who could both make their own designs and do the manual work of weaving. 1. A Brace of Reeves Pheasants. Sung Dy- nasty 2. Flowers, after the model of Tsui P’ai, of the Sung Dynasty. Ming Dynasty 3. Flowers. Sung Dynasty 4. A Landscape. Ming Dynasty 5. A Fishing Scene. Ming Dynasty 6. Longevity. Ming Dynasty 7. The Four Seasons. 1 8th century 61 Catalogue of Chinese K'o Ssu 8. Four Panels (a) Kuan-yiieh Tower (b) A Grove Fountain (c) A Pagoda (d) A Pool 9. Twelve Panels, representing one continu- ous scene of life in the courtyards of a Palace 62 Appendix Appendix List of Chinese Dynasties Shang Dynasty, 1766-1122 B. C. Chow Dynasty, 1 122-255 B. C. Han Dynasty, 206 B.C.-220 A. D. Wei Dynasty, 220-264 A. D. Tsin Dynasty, 264-420 A. D. Six Dynasties, 420-618 A. D. T’ang Dynasty, 618-906 A.D. Five Dynasties, 907-960 A. D. Sung Dynasty, 960-1277 A. D. Yuan Dynasty, 1277-1368 A. D. Ming Dynasty, 1368-1644 A. D. Ching Dynasty, 1644-1911 A. D. 65 Appendix Divisions of Chinese Paintings As given in the Hsiian Ho Hua P’u, the Imperial Collection of Hui Tsung (A. D. i loi-i 125), of the Sung Dynasty 1. Buddhistic and Taoist Scenes 2. Human Figures 3. Palaces and Houses 4. Barbarian Life 5. Dragons and Fish 6. Landscapes 7. Animals 8. Birds and Flowers 9. Bamboos 10. Fruit and Vegetables Classification of Paintings It is customary with Chinese connoisseurs to divide paintings into three general classes — — Shen, Miao and Neng. Each of these three is divided into three sub-classes — superior, medium and inferior. This classification is recorded by Chu Ching-hsuan (about A.D. 1000) in his Ming Hua Lu and was later ex- plained by Hsia Wen-yen in his T’u Hui Pao Chien as follows: I . Shen pictures are those in which the heaven- inspired quality of vitality is found. 66 Appendix 2. Miao pictures are those in which the brush- work is of a high order, where the colors are harmonious and where there is grace or charm. 3. Neng pictures are those in which strength is found without sacrifice of form. A fourth class, 1 , is sometimes given but its use has not been uniform. The usual custom allows only three classes. The Six Canons Suggested by Hsieh Ho (A.D. 475) 1 . The conception should possess harmony and vitality. 2. The brush should be used to establish the structural framework. 3. The outline should conform to the shape of the objects. 4. The coloring should be suitable to the varied forms. 5. The perspective should be correctly con- ceived. 6. The representation should be in conformity with the style selected. 67 Appendix The Six Necessities Suggested by Lin Tao-chuan (about A.D. 1050) 1. Vitality of conception must be combined with strength. 2. Strokes of the brush must be firm. 3. Peculiarities of method should be in accord- ance with reasonableness. 4. Colors should be harmonious. 5. The brush must be handled with ease. 6. In copying leave out all that is inferior. The Three Faults Suggested by Kuo Ju-Jui (about A.D. 1 100) 1. A weak wrist, which results in a stupid brush. Equilibrium is lacking, objects have a flat appearance and cannot be represented in relief. 2. Lack of decision, when the mind and hand are not in accord. Such painting only produces angles. 3. Without progression. Development is nec- essary but does not come. Something seems to hold back the brush and prevent free movement. 68 Bibliography Friedrich Hirth. Scraps from a Collector's Note Book, 1905. Herbert A. Giles. History of Chinese Pictorial Art, 1905. Sei-ichi Taki. Three Essays on Oriental Paint- ing, 1910. Laurence Binyon. Painting in the Far East, 1908. Ernest F. Fenollosa. Epochs of Chinese and Japanese Art, 1912. Laurence Binyon. A Painting by Ku K'ai- chih, 1912. Guide to an exhibition of Chinese and Jap- anese paintings (4th to the 19th century A. D.). London, British Museum, 1910. Ars Asiatica, I, par Chavannes et Petrucci, Paris, 1913. A Gallery of Japanese and Chinese paintings. Tokyo, 1908. Ch’ing Ho Shu Hua Fang Hsiao Hsia Chi, by Chiang Tsun Hsiao Hsia Chi, by Hsin Chou Hsiao Hsia Chi, by Keng^Tse Hsuan Ho Hua P’u 69 Bibliography Hua Chan Shih Sui Pi Hua Cheng Lu Hua Shih Lui Ch’uan Jang Li Kuan Ju Yuing Lou Ku Yuan Lun Hua Chiieh Chii Mo Ylian Hui Kuan P’ei Wen Chai Shu Hua Chien Ying Si Ku Chai Theh Wang Shan Hu T’u Hua Pao Chien T^ung Yin Ti Pa Wang Shih Shu Hua Yuan Wu Sheng Shih Shi 70 Index Nos. . Nos. Ai Hsiian 24 Castiglione 79, 80 Chang Chung. . . .91 (j) Chang Keng 84 Ch’ang K’o Kuan. 86 (e) Chang Kuan 86 (e) Chao Ch’ang 85 (i) Chao Ch’ien-H. ... 27, 85 (b) Chao Chung-mu . . 39, 86 (!) Chao Fei 88 (j) Chao Hsi-yuen. . .85 (b) Chao Jung 39, 86 ( 1 ) Chao K’eh-hsiung85 (n) Chao Meng-fu. .35, 36, 37, 38 Chao Pai-chii 27,85 (b) Chao Pai-su 85 (b) Chao Sung-hsiieh . . 35, 36, 37. 38 Chen Kuo 91 (x) Cheng Chia-sui. . .92 (t) Cheng Chung 56 Chi Chien-chia. . .91 ( 1 ) Ch’ien Lung 77 Ch’ien Hsiian ... .40, 41 Ch’ien Hsun-chii .40, 41 Ch’in Ying 55 Chou Fang 2 (e) Chou Mi 85 Chii Chieh •57 Chuang Hui-seng. .91 (r) Fan K’uan .14 Fang Fang-hu.43 . 45,45 (a) Han Tao .91 (v) Hsia Kuei .31.86 (j) Hsia Yii-yu • 31.86 (j) Hsiang Sheng-mo •92 (j) Hsin Lo ■75. 76 Hsii Ching .85 (g) Hsii Tao-ning. . . .85 (d) Hsii Tsung .85 (k) Hua Yen. •74. 76 Huang Ch’iian . . . 1 1 Huang Chii-tsai. .85 (j) Hui Tsung 17. 86 (b), 86 (c) 1 Yuan-chi .16, 86(h) Ku Hung-chung. .8 Ku 1 -teh .58 Ku K’ai-chih... . . I Kuan Fu-jen .88 (d) Kuan Hsiu . 10 Kung chii-fei. . . . .85 (m) Kuo Chung-shu.. .18 Kuo Ho-yang — . 19, 20, 21 Kuo Hsi . 19, 20, 21 Kuo Lo-yang . 16 Lan Ying .92 (r) 7 ' I ndex Nos. Lang Shih-ning. ..79, 80 Lang T'an • -92 (1) Li Ch’eng ..13 Li Kung-lin . .25, 26, 96 Li Liu-fang • -92 (x) Li Sung-mien .25, 26, 96 Li Pai-shi . .25, 26, 96 Li Sung .86 (f) Li Tang 85 (c), 88 (h) Li Ti ..86 (i) Liu Sung-nien. . ..28 Lo Liang-fen. . . , . .81 Lo Ping ..81 Lu Chih . - 59 > 92 (n) Lu Ch’ing .88 (a) Lu K’eh-ch’eng. ..92 (b) Ma Kuei . .29 Ma Lin ..88 (b) Ma Wan ..81 (i) Ma Yiian ■ -30, 85 (h) Ni Tsan .42 P’an Yun-i ..91 (p) Pao Ting , .85 (p) P’ei K’uan •3 Shao Mi •91 (h) Sie shih-chen. . . , . .91 (n) Shen Chou . .5L91 (b) Shen Shih-t’ien. . .51,91 (b) Su Shih ..86 (d) Su T’ung-po. . . . ,.86 (d) Sung Hsii ..90 Sung Mo-tsin ,.92 (p) T’an Sung ..82 Tang I -fen ..83 T’ang Pai-hu. . . . .52 Tao-tsi .78 Tiao Kuang ,.9 Nos. Ting Yun-p’eng, . .61 Ts’ao Chih-pai. . .88 (e) Tsao Jun 94 Ts’ui Tsu-chung. .60 Tung Ch’i-ch’ang.63, 64 Tung Yiian 15 Wang Cheng-p’eng . .46 Wang Chien 93 (d) Wang Fu 50 Wang Hui....70, 71, 72, 93 (a), 93 (e) Wang Meng-tuan.50 Wang Shih-ming..93 (c) Wang Shih-ku. ..70, 71, 72, 93 (a), 93 (e) Wang Yin 85 (e) Wang Yuan 88 (f) Wang Yiian-chi. . .93 (b) Wen Cheng-ming. 53, 54, 92 (d) Wen Chia 92 (v) Wen Chih 91 (t) Wen Hsin 85 (o) Wen Pai-jen 65 Wu Chen 43 Wu Chung-kuei. .43 Wu Hsiao-hsien.. .66 Wu Li 73 Wu Pin 91 (f) Wu Ping 86 (g) Wu Tao-tsu 4, 85 (a) Wu Wei 66 Yang Shen 6 YenWen-kuei 22, 85 (f) Yun Nan-t’ien. . . 75, 93 (f) Yun Shou-ping. . .75, 93 (f) 72 Of this Catalogue an Edition of 2,500 copies was printed in January, 1914. ' W • / > € • cT ' 9 Ji 1 f ry-._ - ‘ ■ '/ , ■ ‘ < ^- , 'V; .' , iAC-f '.A- .■►■ . - .. ' ' • \ '':-y li ' . ' .'‘i .»» ' . ■* ' ' ■■