The Donkey Rider as Icon: Li Cheng and Early Chinese Landscape

The Donkey Rider as Icon: Li Cheng and Early Chinese Landscape Painting
Author(s): Peter C. Sturman
Source: Artibus Asiae, Vol. 55, No. 1/2 (1995), pp. 43-97
Published by: Artibus Asiae Publishers
Stable URL: http://www.jstor.org/stable/3249762 .
Accessed: 05/08/2011 12:40
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected].
Artibus Asiae Publishers is collaborating with JSTOR to digitize, preserve and extend access to Artibus Asiae.
http://www.jstor.org
PETERC. STURMAN
THE DONKEY RIDER AS ICON:
LI CHENG AND EARLY CHINESE LANDSCAPE PAINTING*
he countryis broken,mountainsandriversremain."'I
With thesefamouswordsthat lamentthe
1T catastropheof the An LushanRebellion,the poet Du Fu (712-70)reflectedupona fundamental
principlein China:dynastiesmay come and go, but landscapeis eternal.It is a principleaffirmed
with remarkablepowerin the paintingsthat emergedfromthe rubbleof Du Fu'sdynastysome two
hundredyearslater.I speakof the magnificentscrollsof the tenth andeleventhcenturiesbelonging
to the relativelytightly circumscribedtraditionfromJing Hao (activeca. 875-925)to Guo Xi (ca.
Ooo-9go)known todayas monumentallandscapepainting. The landscapeis presentedas timeless.
We lose ourselvesin the believabilityof its images,acceptthem as less the productof humanminds
and handsthanas the recordof a greatertruth.Jing Hao'sandGuo Xi's own writingson landscape
painting largelyperpetuatethe illusion that what is seen is firstand foremostnature'sreality.zWe
areencouragedto appreciatethe subtle transformations
of seasonandgeography,but not necessarily
the humanintentionsthat underliethe choice of one motif over anotherand its placementin the
composition.3
"T
3
Preliminaryresearchfor this study was first outlined for the Chinese Poetry Group of SouthernCaliforniain Los Angeles,
September,1991.Subsequentformsof the study werepresentedat the February,1992meeting of the CollegeArt Associationin
Chicagoandforthe conference"Mountainsandthe Culturesof Landscapein China,"whichtookplacein SantaBarbara,California,
January,1993 sponsoredby the University of Californiaat SantaBarbara,the Chiang Ching-kuo Foundationfor Scholarly
Exchange,and the MetropolitanCenterfor FarEasternArt Studies.Thosepaperswererespectivelytitled "TheDonkeyRideras
CulturalIcon:A Studyin ChineseIconography"
and "LiChengandthe LiteratiDiscourseon Realityin NorthernSongLandscape
Painting."
Du Fu, "Chunwang"(Springgazing), Du shi xiangzhu,edited by Qiu Zhaoao(Beijing, 1979 reprinted.), 320-21. The poem is
presumedto havebeenwrittenin the thirdlunarmonth,757.
A NoteontheArt of
Jing Hao'stext, Bifaji, is well-presentedin KiyohikoMunakata'smonographstudy ChingHao's"Pi-fa-chi":
theBrush,ArtibusAsiaeSupplementumXXXI (Ascona,1974).Guo Xi's Linchuangaozhi(LoftyAspirationsAmong Forestsand
hualunleibian(Taibei,1977reprinted.), 631-50o.
Streams)is publishedin Yu Kun's(YuJianhua)Zhongguo
An old but serviceable
translationof Guo Xi's text is ShioSakanishi'sLinch'uankaochih:An EssayonLandscape
Painting(London,1959).Portionsof both
areincludedin SusanBushandHsio-yenShih,EarlyChineseTextsonPainting(Cambridge,1985),Chapter4. SeealsoFu Songnian
and ChenShaofeng,"Du Linchuangaozhihua ji zhaji"(Notes on readingLinchuangaozhiand the "Recordon Painting"),Meishu
yanjiuno. 3 (1979),66-71, and SuzukiKei, "Linchuangaozhihua ji yu Guo Xi" (Linchuangaozhi,the "Recordon Painting"and
Guo Xi), translatedinto Chineseby Wang Weiming,Meishuyanjiuno. 4 (1982),70-76 [originallypublishedin Japanesein Bijutsu
shi no.
(1980)].Guo Xi's text andpaintingarethe subjectof a Ph.D. dissertationby StanleyMurashige,"'EarlySpring'andthe
log
'Linchuangaozhi':Paintingas RitualPerformance,"
Universityof Chicago,1991.
Among the few studies that specificallyaddressthe subjectof meaning in tenth- and eleventh-centurylandscapepainting are
RichardBarnhart,WintryForestsand OldTrees,SomeLandscape
in ChinesePainting(New York, 1972);SofukawaHiroshi,
Themes
"KakuKi to Soshunzu"(GuoXi and"EarlySpring"),TjyjshikenkyfXXXV, no. 4 (1977),62-86; andRichardBarnhart,"Figures
in Landscape,"
Archivesof AsianArt XLII(1989),62-70. To date, the majorityof studiesof the monumentallandscapepainting
traditionhavebeenprimarilyconcernedwith issuesof dating,structuralanalysis,technique,style andlineages.Thesestudies,too,
however,commonlytouch upon broaderquestionsof meaningand intention.Among the more notableareWen Fong, Summer
Mountains(New York, 1975);SofukawaHiroshi, "GodaiHoku So shoki sansuigano ichi kosatsu"(A Study of the landscape
painting of the Five Dynastiesand earlyNorthernSong periods),Tihi gakuho419 (1977),113-214;Ogawa Hiromitsu, "T6So
sansuigashi ni okeruimajineeshon- hatsubokukaraSoshunzu Sh6sh6gakuyu zukanmade"(Imaginationin Tang and Song
landscapepainting- from the splashedink style to "EarlySpring"and "DreamJourneyAlong the Xiao-Xiang"),Kokka#1o34
(1980), 5-17, #Io35(1980),35-45, and #1036(1980),25-36; SuzukiKei, Chugokukaigashi,firstvolume (Toky6,1981),especially
188-291.
43
This attractive quality of timelessness belies the fact that the formation of landscape painting
during the Five Dynasties Period and early Northern Song, like any other movement in art, is subject
to historical analysis, and the subtleties of the process of its development are recoverable.It is towards
this goal that iconographical studies hold some promise, for isolating the associations of a prominent
motif and analyzing its function over time potentially provide a small window of visability on the
formation of the genre. The motif of choice here is one that at first may appear unworthy of serious
study. The donkey rider seems but an insignificant and humorous player in the greater drama of
him.Ubiquitousin theseearlypaintings,onecomesto thinkof
mountainsandriversthatsurround
him as a naturaloutgrowthof the landscape,
as timelessas the hills he traverses.
Yet the donkey
rider'spresencewill be shownto be inextricablylinkedto the veryemergenceof landscapeas a
dominantsubjectin the tenthcenturyand,as such,an importantkeyto revealingthevaluesthat
art.
thedevelopment
of thismagnificent
spurred
The subjectprovesfarmorecomplexthanone might firstpresume,with multiplelines of
A numberof these
potentialinquiryleadingfromwhatbeginsasa simpleprocessof identification.
will be followedin thisessay,thoughnonewiththeexhaustive
detaileachultimatelydeserves.
The
primary goal, rather, is to sketch some of the vistas that open through a study of the donkey rider.
Not least among these is the historical process itself by which an icon takes form, expands and
splinters into various themes, sub-themes and personalities. As will be demonstrated, there was a
powerful tendency in China to root the values assigned to an icon with historical figures. In the case
of the donkey rider numerous individuals are involved, including some of the most hallowed names
of Chinese poetry and painting. None, however, plays as pivotal a role as the Five Dynasties Period
landscape painter Li Cheng (919-67), who in many respects becomes the true subject of this study.
The essay is loosely structured around three important attributions to Li Cheng: Travelersin a Wintry
Forest(The Metropolitan Museum of Art), A SolitaryTempleamid ClearingPeaks(The Nelson-Atkins
Museum), and ReadingtheSteleby PittedRocks(The Osaka Municipal Museum).
I. Travelersin a WintryForest:Ut PicturaPoesis
We begin with Travelersin a WintryForest(figs. I, 2), a large and impressive painting on silk upon
whose mounting above one finds the lofty proclamation, "The number one Li Cheng painting in the
world," written by its former owner, the twentieth-century painter and collector Chang Dai-chien
(Zhang Daqian [Zhang Yuan], 1899-1983). This is a painting that has attracted relatively little
attention since it was purchased in 1973.4 A possible reason for this may be a persistent uneasiness
concerning the painting's date. Unsigned, and with few seals, the style and technique of the painting
are about the only things by which a date can be assigned, and analysis of these has resulted in wildly
differing conclusions, ranging from the tenth to the twentieth centuries (see Appendix for a
discussion of the painting's date). Ironically, if it had been known how the painting, or at least the
4
The paintingwas shownin the exhibition"WintryForests,Old Trees:SomeLandscapeThemesin ChinesePainting,"organized
by RichardBarnhartat ChinaInstitutein America,October26, 1972- January28, 1973.It is reproducedwith ProfessorBarnhart's
observationsin the catalogueto the exhibition,pp. 28-29. The paintingis alsopublishedin Wang Shijie,ed., A Garlandof Chinese
(Dong YuanandJuran),Bunjingasuihenseries
Painting(Hong Kong, I967), vol. I, pl. II, andNakataYajir6,ed., Tj Gen,Kyonen
(T6ky6,1977),vol. 2, pl. 17. Most recently,the painting has been discussedand sumptuouslypublishedby Wen Fong, Beyond
(New York,1992),77-79, pl. 9, 9a-b. I wouldlike to expressmy appreciationto MaxwellHearnof the Metropolitan
Representation
Museum,who sharedwith me the Museum'sfiles on the painting and a seminarpaperthat he wrote in February,1978while a
in a WintryForest':A Problemin Identification".
graduatestudentat Princetontitled, "'Travellers
44
composition, had been attributed in its early history, that extraordinaryvariance would have to be
increasedeven more, for early sources reveal that the painter responsible for the image was none other
than the famous poet and statesman Wang Wei (701-61) of the Tang dynasty.
Chang Dai-chien's undated inscription on the mounting underneaththe painting helps to explain
this coupling of the famous names of Wang Wei and Li Cheng, and in the process cites two more: Mi
Fu (Io52-II07/o8), the Northern Song calligrapher and connoisseur whose comments on painting
prove to have been instrumental in Chang Dai-chien's attribution of Travelersin a WintryForestto Li
Cheng, and the Tang dynasty poet Meng Haoran (A.D. 689-740). Chang quotes two passages from
Mi Fu's Hua shi (Painting History), the first of which begins, "In the four-scroll composition by Li
Cheng in Master Baoyue's collection one sees a scholar riding a horse on the road and a servant
following behind. Pure and refined, it is like Wang Wei's painting of Meng Haoran."' Chang Daichien's inscription continues by remarking what an extraordinary coincidence it was that the
painting Mi Fu commented upon had been owned by an eleventh-century Buddhist master from
Sichuan Province residing in Suzhou, just as Chang, himself, was a native of Sichuan who had been
thispainting.6
residingin Suzhouwhenheacquired
to
Haoran's
official
According Meng
biographyin the rewrittenhistoryof the Tangdynasty,
Ouyang Xiu's (A.D. 1007-72) and Song Qi's (998-o1061)Xin Tang shu, when Wang Wei passed
through Yingzhou (Jingshan, Hubei Province) sometime after Meng's death in 74o, he painted his
friend's likeness on a pavilion at the prefect's official residence.7Ouyang Xiu's information probably
came from Pi Rixiu's (ca. 834-83) recordof the pavilion, dated A.D 863.8 It should be noted from the
outset that Pi Rixiu's record was written over one hundred years after the fact, and as his choice of
language suggests ("People say..."), the association of Wang Wei with this painting is not
necessarily documented in hard fact. It was, however, widely accepted in Pi Rixiu's time, as proven
by its appearance about a generation earlier in Zhu Jingxuan's Tang chao minghualu of circa 845,
where it is written that Wang Wei painted the poet Meng Haoranchanting a poem on a horse.9
One generation after Mi Fu, the twelfth-century scholar Ge Lifang (d. 1164) recorded another
painting supposedly by Wang Wei that he had seen at the home of Sun Runfu of Piling (Jiangsu
Province). This silk scroll, described as old and in tattered condition, came complete with
inscriptions by Wang, himself, the famous tea cognoscente Lu Yu (d. 804), and Zhang Ji (933-96), an
official of the Southern Tang kingdom and early Song dynasty.IoThe painting, according to Lu Yu's
inscription, was titled LordMeng of Xiangyang Chantinga PoemAtop a Horse.Ge Lifang questioned
the painting's authenticity, calling it the copy of a "vulgar"craftsman, and he mentions how the
Mi Fu,Huashi, in Yu Anlan,comp.,Huapincongshu
(Shanghai,1982;hereafterHPCS),205.
ChangDai-chienseemsto havebeenidentifyingMasterBaoyueas the BuddhistmonkWeijian(surnamedSu, Ioiz2-95).However,
I haveseenno evidenceto suggestthat Weijianeverleft his nativeSichuanto live in Suzhou.Therewerea numberof monksin the
latterhalfof the eleventhcenturywho adoptedthe cognomenBaoyue,includingXiuguang(Ioo8-68), a nativeof Hangzhou.To
date,noneis identifiablewith the MasterBaoyueof SuzhouwhomMi Fu mentionsin his Huashi.
7 OuyangXiu, Xin Tangshu(Beijing, I975reprinted.),juan 203, 5579-80. Hans H. Frankel,Biographies
of MengHao-jan,Chinese
No. I (Berkeley,I952),6. Seealso PaulW. Kroll,MengHao-jan(Boston,1980),146. As subsequent
DynasticHistoriesTranslations
citationswill show,I amparticularlyindebtedto ProfessorKroll'sstudy.
8 Pi Rixiu'srecordof the Meng Pavilion(as it was latercalled),"YingzhouMeng ting ji," is foundin QuanTangwen(Taibei,1961
reprinted.),juan797, 3b--a. Yingzhouis aboutone hundredmiles southeastof Xiangyang,whereMengHaoranlived.
ed. (Jiangsu,1986reprinted.), 7a. AlexanderSoper,"T'angCh'aoMing Hua
9 ZhuJingxuan,Tangchaominghualu, Meishucongshu
Lu:CelebratedPaintersof the T'angDynastyby ChuChing-hsuanof T'ang,"ArtibusAsiae,XXI, 3/4(I958),218.
1o Ge Lifang,Yunyuyangqiu(Shanghai,1979reprinted.),juan 14, Ib-2b. ZhangJi's officialbiographyis foundin Songshi,juan 267,
5
6
92o8-I5.
45
inscriptions all appeared to have been from a single hand. Nevertheless, Wang Wei's purported
inscription and Zhang Ji's careful description provide significant information for our understanding
of the Metropolitan Museum's Travelersin a Wintry Forest(Lu Yu's inscription is less relevant,
dwelling on his presentation of the painting to someone with the sobriquet Zhongyuan). Wang
Wei's inscription is as follows:
In the past, I, Wei, heardLordMeng chant the following:"Towardsevening, my horsehastens
with quickenedsteps / The city is desolateand humanhabitationsfew.""IHe also recited,"Sails
hoisted, many thousandsof miles / But no famousmountainshaveI encountered./ I moor my
boatby Xunyang'souterwalls/ And forthe firsttime see BrazierPeak.'2 BecauseI so admirethe
beautyof this man'sspirit,uponreturninghomeI havepaintedhis imageon a pieceof silk.13
Zhang Ji's inscription, dated A.D. 983, describes Meng Haoran as tall and lanky, dressed in a
scholar'splain robe, with boots, hat and a layered kerchief. Riding a small horse, he is followed by a
young servant, hair still tied in tufts, who carries Meng's booksack and zither on his back. "Meng's
air and bearing are expansive and independent, quivering as if with life," Zhang writes.,4 His
inscription ends with a curious story concerning Meng's relationship with Wang Wei:
LordMeng'spoetrywashighly acclaimedat the end of the Kaiyuanandbeginningof the Tianbao
reigns [ca.740-45]. Duringa journeyhe took to Chang'an,Wang Wei admiredhim andsanghis
praises.Some say that the AssistantDirectorof the Right [Wang Wei], seeing that Meng was
superiorto himself,was unableto recommendhim to the emperor.Becauseof this Meng Haoran
endedhis life withoutencounteringimperialrecognition.Thus, in Xiangyang'spartingpoemfor
Wang Wei he writes, "Will thosewho 'controlthe roads'grantme anything?/ What is rarestin
this world are 'connoisseursof tone,'' referringto this situation.Recentlywhen in JinchengI
saw a copy of this painting.The followingcoupletwas writtenon it: "Thewaterebbs, and FishweirIsle is left in shallows;Skyturnscold, andthe Marshof Dreamlies deep"6..
Ge Lifang'srecordcements the traditional association of Meng Haoran'sportrait with Wang Wei.
It is repeated in Huizong's Northern Song catalogue of paintings in the imperial collection, Xuanhe
huapu of ca. 1120, and in an inscription written by Du Fan (1182-1245) of the Southern Song.17A
ashavingpassedthroughthecollectionsof Zhao
portraitof MengHaoranbyWangWei is recorded
Mi
Youzuo,ZhaoXinzhi, Zhou (1232-98),Qiao Kuichengand Guo Tianxiat the end of the
H FromMeng Haoran'spoem "Xi ci Caiyangguan"(Stoppingforthe Night at an Inn at Caiyang).Meng Haoran,MengHaoranshiji
12
13
I4
I5
16
17
(Shanghai,1982reprinted.),juan 2, 5a-b.
FromMeng Haoran'spoem "Wanbo Xunyangwang Lushan"(Night Mooringat Xunyang,Gazingat MountLu).MengHaoran
shiji,juanI, 3a.
Ge Lifang,Yunyuyangqiu,juan 14,Ib.
My translationof Zhang'sdescriptionmostlyfollowsthat of PaulW. Kroll,MengHao-jan,146.
The poemto whichZhangJi refersis "Liubie Wang shiyu"(PartingfromAttendantCensorWang),MengHaoranshiji,juan2, IIa.
As publishedin this edition, the firstof these two lines in Meng'spoem differsby one character:"Whoof those that 'controlthe
roads'will grantme anything?"Translationby PaulW. Kroll,MengHao-jan,82-83. "Controlthe roads"refersto thosewho hold
politicalpower.
FromMeng Haoran'spoem "Yuzhuzi deng Xianshan"(On Climbing Xian Mountainin Companywith SeveralFriends),Meng
Ge Lifang,Yunyuyangqiu,juan14,2a.
Haoranshiji,juan I, 4a. Translationby PaulW. Kroll,MengHao-jan,
P..35.
ed. (Shanghai,1982;hereafterHSCS),juan
Xuanhehuapu,Huashicongshu
Io, lo4. Du Fan,Qingxianji, Sikuquanshued. (Shanghai,
1987reprinted.; hereafterSKQS),juan 17, 5a.Du Fan'sinscriptionis also recordedin Wang Yuanqi,ed., Peiwenzhaishuhuapu
(Taibei,1982reprinted.),juan81,26a-b.
46
thirteenth century.,8 With the exceptions of a couple of fourteenth century poems and the brief
repetition of some of these early notices in such later catalogues as Zhang Chou's Qingheshuhuafang
afterwards,curiously,
(prefacedated 1616)and Wang Keyu's Shanhuwanghualu (prefacedated 1643),V9
there is no mention of Wang Wei's painting. In similar fashion, there is no record of this painting,
Travelersin a WintryForest,that Chang Dai-chien found in Suzhou earlier in this century, at least not
in the customary places. For all intents and purposes the composition attributed to Wang Wei
disappeared from sight sometime in the fourteenth century, and when Chang Dai-chien found this
old hanging scroll, aware or not of the historical connection to Wang Wei, he attributed it to Li
Cheng on the basis of Mi Fu's Hua shi. Possibly Travelersin a Wintry Forestwas the same painting
that Zhou Mi records circulating in the south during the latter half of the thirteenth century; we
cannot be certain. What is certain is that had Chang Dai-chien followed historical precedent, he
would have attributed Travelersin a WintryForestto Wang Wei. Nevertheless, for reasonsthat will
becomeclearlater,ChangDai-chienwasnotnecessarily
mistakenin hischoiceof LiCheng'sequally
famous name.
Another important question of identification concerns not the painter but the subject. To this
point we have simply assumed that the donkey rider is the famous Tang dynasty poet Meng Haoran,
but the issue deserves much greater scrutiny, for as a perusal of the early literature reveals, Meng
Haoran was hardly the only one to straddle the donkey's spiny back. The Northern Song poet Mei
Yaochen (lo02-60), for example, wrote a poem for a painting attributed to Wang Wei that his friend
Hu Gongshu (unidentified) had engraved into rock. The donkey rider in this case was Ruan Ji (21o63), one of the Seven Sages of the Bamboo Grove.2' As revealed in poems by Huang Tingjian (lo4511o5)and Chen Shidao (lO52-1ol) and a description by Dong You (active early twelfth century), the
famous Tang dynasty poet Du Fu, a younger contemporary of Meng Haoran, was also known and
sometimes depicted as a donkey rider in the eleventh century.2 Other Tang dynasty poets described
atop their donkeys were Jia Dao (779-849) and Li He (790-816)." The early Song poet Pan Lang
(d. A.D. Ioo9) portrayed himself in the poem "PassingMount Hua" as admiring the landscape while
riding a donkey backwards,and was so depicted in a painting by Xu Daoning.23According to Huang
i8 Zhou Mi, Yunyanguoyanlu, HPCS, 345.Citing anotherversionof Zhou Mi's text, the late Ming dynastyscholarZhang Chou
mentions that the painting had been in the collection of Zhao Yuqin, a memberof the Song royalfamily active in the midthirteenthcentury.ZhangChou,Qinghe
shuhuafang (Taibei,1975reprinted.),juan I, I4b.
19 Mou Xian, "WangWei huaMeng Haoranqili tu"(Wang Wei's paintingof Meng Haoranridinga donkey),Lingyangji, SKQS,
juan 3, 3a-b. LiangYan, "Ti Wang Wei suohuaMeng Haoranxiang"(Inscribedupon Wang Wei's portraitof Meng Haoran),
Shimen
ji, SKQS,juan 2, Iob-IIa.ForZhangChou'srecordsee the previousnote.Wang Keyu,Shanhuwang(Chengdu,1985reprint
ed.), secondvolume,juan23,1322.
zo Mei Yaochen,"YongWang YouchengsuohuaRuanbubing zui tu"("Singingof Wang Wei's Paintingof InfantryCommandant
RuanDrunk"),Mei Yaochen
ji biannianxiaozhu(Shanghai,I980),juan6, 95.
2,
HuangTingjian,"LaoDu Wanhuaxitu yin"(A Songof the Portraitof Old Du at Flower-washingStream),Shanguji, waiji,SKQS,
juan 4, 23b-24a.ChenShidao,"Xi Kuan jun ershou"(Two VersesPlayfullyWritten for Mr. Kuan)and "He Raojieyong Zhou
FanghuaLi Bo zhen"(RhymingRaojie'sPoemon ZhouFang'sportraitof Li Bo),Houshanshi zhu,SKQS,juan9, Izb-13a,andjuan
12,4b-6b. Fora translationanddiscussionof HuangTingjian'spoem,see RonaldEgan,"Poemson Paintings:Su ShihandHuang
Ting-chien,"TheHarvardJournal
ofAsiaticStudies43 (December,1983),447-48. Dong You, Guangchuan
huaba,HPCS,273.
22 Jia Dao'sassociationstemsprimarilythrougha well-known"poetry-chat"
(shihua)told of his meetingwith HanYu. Ji Yougong,
Tangshi jishi (Shanghai,1965reprinted.), juan 40, 613. Li He is describedriding a donkey in Li Shangyin's(813-58)capsule
biography"LiChangjixiao zhuan,"includedin ChenZhiguo,ed., Li Heyanjiuziliao(Beijing,1983),4-5. In his officialbiography
Li'ssteedis changedto a youngcolt. OuyangXiu, Xin Tangshu,juan203, 5787-88.A poemby Xu Fu (lo75-II41)fora paintingof
Li He mountedon a horseaccompaniedby a servant,"LiHe wanguitu"(LiHe Returningat Nightfall)is recordedin Li E, Songshi
jishi (Shanghai,1983reprinted.),juan33,835.Both the associationsforJia Dao andLi He arediscussedin moredetailbelow.
23 PanLang,"GuoHuashan,"
Xiaoyaoji, SKQS,juanI, Izb.Guo Ruoxu, Tuhuajianwenzhi, HSCS,juan4, 53.
47
Tingjian and Lu Dian (active late eleventh - early twelfth centuries), Li Gonglin (ca.
OI048-1o6)
painted his older contemporary Wang Anshi (1021-86) riding a donkey on Mount Zhong, in the
environs of Nanjing.24 The Northern Song poets Lin Bu (A.D. 967-1028) and Su Shi (A.D. O1037-11O01)
were commonly portrayed atop donkeys in later paintings, as were such legendary figures as Zhong
Kui the Demon Queller, the Daoist magician Zhang Guolao, Buddhist monks and a host of others.
A closer look into donkey-riding iconography, however, will show that many of these potential
claimantsto the rider in Travelersin a WintryForestcan be dismissed. RuanJi, for example, is
described in Mei Yaochen's poem as being so drunk that his hat is radically tilted, as is Ruan Ji,
supported by a figure to his side. The painting of Du Fu described by Huang Tingjian and Chen
Shidao seems to have borrowedliberally from Ruan Ji's wine-sodden tradition. He is returning home
to his thatched hut at Flower-washing Stream outside Chengdu (Sichuan Province), quite drunk and
supported by one of his sons. I know of no painting of Ruan Ji on his donkey, but the image of the
drunken donkey rider is well-represented by an anonymous fan in the Shanghai Museum that should
be identified as Du Fu at Flower-washing Stream (fig. 3). True to the lines from Huang Tingjian's
poem - "Zongwen remains at home, Zongwu supports him, At sunset the old donkey carries his
drunken form"25- we find Old Du crossing a stream laden with floating petals from the blossoming
trees, supported by Zongwu while his other son Zongwen (one guesses) goes about his domestic
chores accompanied by the family pet on the other side. There are some added elements not found in
Huang Tingjian's poem: the servant carrying a lantern behind, for example, and the banner
signifying, in all likelihood, a rustic wineshop. But these, it can be argued, simply enhance some of
the essentials of the narrative,such as the lateness of day and Du Fu's inebriation. The iconography of
Du Fu as drunken donkey rider clearly departs from what is shown in Travelersin a WintryForest.
Pan Lang would have been shown facing backwards. Wang Anshi, according to Lu Dian's
description, ambled through the forests of Mount Zhong accompanied by three attendants: one
carrying a set of the Classics, one holding Wang's highly acclaimed lexicon, Zishuo, and one
following with a portable urinal (mubuzi).Li Gonglin, moreover, included in his portrait the scholar
Yang Ji and the monk Xiufa (lo027-90). Li He, as we shall see, would be a credible candidate, but
witha face
havingdiedat theyoungageof twenty-six,it is difficultto imaginehimbeingportrayed
full of whiskers.LinBu wouldundoubtedlyhavebeenshownappreciating
his floralspouse,the
blossoming prunus.26Travelersin a WintryForestpossesses its own specific iconography, of which the
wintry chill so beautifully represented by the tangled pines and blasted trees is foremost in
establishing its distinct image. What proves to be an immensely useful description of a painting seen
in the early twelfth century by Dong You confirms that this particular version of the donkey rider
who trots through the frozen landscape indeed can be none other than Meng Haoran traversing the
hills at Xiangyang. It begins:
24
25
26
HuangTingjian,"ShuWangJinggongqili tu"(Writtenafterthe painting"WangJinggongRidinga Donkey"),Shanguji, SKQS,
juan 27, 8a. Lu Dian, "ShuWang Jinggong you Zhongshantu hou"(Written afterthe painting "WangJinggong Roamingat
MountZhong"),Taoshan
ji, SKQS,juan II, 7b-8a.
Translationby RonaldEgan,op.cit.,448.
ForinformationconcerningLinBu andhis passionforplum blossomssee MaggieBickford,BonesofJade,Soulof Ice:TheFlowering
Plumin ChineseArt (New Haven, I985),22-26. Lin Bu was so indelibly associatedwith the blossomingplum that it is nearly
inconceivablethat he wouldbe shownin a paintingwithoutthem.
48
MasterMeng was an extraordinary
man of the world, and it thus is appropriatethat he did not
accordwith his times. He huddlesamidsthis thick coarseclotheswhile carryinga bamboobasket
on his back. His sleeves fall down as he straddlesthe donkey. He bravesthe wind and snow
traversingthe mountainslope...27
Combining Ge Lifang's and Dong You's descriptions, we note the following points in common
with Travelersin a WintryForest.Meng Haoran wears the plain white robe of a scholar. He is booted
and hatted, with the layered kerchief wrapped about his head to protect from the winter's chill, and
the sleeves of his coarse clothing hang down as he huddles from the cold. We append here two lines
from a verse written by Su Shi to the portrait painter He Chong: "And have you not seen Meng
Haoran riding a donkey in the snow? Brows knit, chanting a poem, his shoulders hunched like
mountains."28 Those hunched shoulders are well-rendered by the thick brush lines descending from
the hat of our donkey rider. Ge Lifang describes one young servant following Meng Haoran, bearing
his booksack and zither. This young lad, with hair still in tufts, appearsto have been moved to the
front (though the painting is a little too worn here to confirm that what he carries on his back is
indeed a booksack and qin). Dong You mentions a basket, lingsheng,on Meng Haoran'sback. Perhaps
this is what the second attendant secretly rifles through as he trails behind. Lingshengcommonly
refersto a fishing tackle box, though as we shall see presently, the contents of this container are rather
different. In summary, while it is clear that the paintings Ge Lifang and Dong You saw and described
differedin certaindetailsfromTravelers
in a WintryForest,therecanbe little questionthat the
donkeyrideris theTangpoetMengHaoran.
in a WintryForest,
Althoughwe haveprovideda specificidentityforthedonkeyriderin Travelers
in many respects it is just as important to consider him less an individual than a collective persona,
for Meng Haoran's association with the donkey was essentially historical invention. This becomes
evident when one looks for the key text that connects Meng Haoran to what one would presume to be
his trusted donkey. Contraryto expectations, in Meng Haoran'sentire extant oeuvreof more than two
hundredpoemsthereis nota singlementionof a donkey.Noris he connectedto a donkeyin anyof
the variousstoriestold of him in shibua(poetry-chat)
miscellanies.In fact, the firsttime Meng
Haoranis placedon a donkeyis notforonehundredfiftyyearsafterhe lived,in a poemwrittenby
Tang Yanqian circa A.D. 880.29 To understand why, in the minds of later poets and painters, Meng
Haoran eventually became a donkey rider, one must uncover the associations donkey and rider
engender. The source, it would appear, is Meng Haoran'spredecessorRuan Ji, whose portrayal on a
withWangWei.Therewereearlier
donkeyin theeleventhcentury,wehaveseen,wasalsoassociated
donkeyriders,no doubt, but the fundamentalsof the iconographyseem to begin with this
extraordinary eccentric. A portion of Mei Yaochen's poem describing this painting will serve to
introduce them.
Wang Wei's brushattainedthe Marvelous,
RuanJiponderedthe AbstruseandEmpty.
Only he (Wang)paintshim arrivingat Dongping,
Hat askew,drunk,andridinga donkey.
With stubbornstrength(the donkey)refusesto advance,
27 Dong You, Guangchuanhuaba, 253.
28 Su Shi, "Si xiezhen He Chong xiucai" (Presented to the Portrait Painter and Cultivated Talent He Chong), Su Shi shiji (Beijing,
1982 reprint ed.), juan 12, 587.
29 "Yi Meng Haoran"(Remembering Meng Haoran), Quan Tang shi (Beijing, I960), juan 671, 7668.
49
Headbowed,his earspushforward.
One personpulls andlooksback,
An officialsupportsfromthe side.
Graspingthe saddle,(Ruan)lifts both feet,
Closinghis eyes,he forgetsaboutthe road'send . .30
A number of notable Ruan Ji anecdotes are alluded to in Mei Yaochen's verse. Spontaneous and
transcendant, Ruan was never one to talk about worldly affairs, preferring, instead, to discuss the
"abstruseand remote."3'Disinterested in public office, he only agreed to take the position of Grand
Warden at the commandery at Dongping (Shandong Province) because years earlier he had enjoyed
the scenery there as a young man. Ruan mounted a donkey and rode to his new post where he
demolished the walls of the administrative offices in order to gain a better view of the landscape.
After ten days he remounted his donkey and left.32A notorious drinker, Ruan Ji's only other request
for office was as Commandant of Infantry, tempted by the several hundred vats of wine stored in the
commissary.33Lastly, Ruan was fond of riding alone without any thought of destination, following
little-known routes to the point where the carriage tracks would end. For some reason this would
cause him to weep bitterly as he returnedhome.34
We note the following points about Ruan Ji. He was absolutely disinterested in official service,
acquiescing only when the post in question permitted him to pursue other interests. The first of these
is landscape, whose precedence over paper-shuffling is wonderfully expressed by Ruan's sense of
architectural design. The second is wine, described by Wang Chen (d. A.D. 392) as that which Ruan
Ji needed to irrigate the rough and rugged terrain in his breast.35 Attracted to matters of
philosophical profundity, Ruan Ji was never interested in passing judgments on others.36He was a
poet and self-acclaimed social non-conformist, famed for his rhetorical query, "Were the rites
established for people like me?"37Lastly, and no doubt in consequence of most of the above, Ruan Ji
was poor.38The donkey that he rides was probably in equal measure a symbol of Ruan's poverty and
eccentricity.
WhenDu Fudescribedhimselfasonewhohadriddenthedonkeyforthirteenyears,"following
the dust of well-fed horses,"he did not necessarilymean to compare himself with Ruan Ji, but rather
to emphasize his poverty and singular lack of success in pursuing an official career.39Du Fu, in fact,
differed significantly from Ruan Ji as a Confucian who maintained a life-long ambition to serve the
30 Seenoteno. 20.
RichardMather,Shih-shuoHsin3I LiuYiqing, Shishuoxinyujiaojian,edited by Xu Zhen'e(Hong Kong, 1987reprinted.), 10
(I.I5).
of Talesof theWorld(Minneapolis,1976),9.
yu:A NewAccount
FromZhangYin's Wenshizhuanof the fourthcentury.CitedfromLiuYiqing, op.cit.,392(XXIII.5).Mather,373.
32
33 LiuYiqing, op.cit., 392(XXIII.5);Mather,373.Anotheranecdotecommentingon RuanJi's fondnessof wine describeshim having
to be supportedwhile he writes an official communique,which he does perfectly, without error.Liu Yiqing, 135(IV.67);
Mather,127.
34 FromSunSheng'sWeishi chunqiu,cited fromLiuYiqing, op.cit.,355(XVIII.I);Mather,331-32.
35 LiuYiqing, Shishuoxinyu,409-1o (XXIII.51);Mather,390-91.
36 FangXuanling,ed.Jin shu(Beijing,1977reprinted.),juan49, 1361.
37 LiuYiqing, op.cit., 393(XXIII.7);Mather,37438 Along with his nephewRuanXian (234-305),RuanJi was one of the Ruanswho lived on the south side of the street.All of the
otherRuanslived on the north(with the southern,hencesunny,exposure).Accordingto an anecdotetold in Shishuoxinyu,the
northernRuanswereall wealthy,while the southernRuanswerepoor.LiuYiqing, op.cit.,393(XXIII.Io);Mather,375.
39 Du Fu, "FengsiWei zuochengzhangershieryun"(Presentedto LeftAide Wei Qi, Twenty-twoRhymes),Du shi xiangzhu,juan I,
73-80. Someversionsof the poem say thirty years.A commentaryto this poem dates it to ca. A.D.747, aroundthe time of his
secondfailurein the imperialexaminations.Du Fu did not succeedin achievinganykind of officialrecognitionuntil 755,whenhe
wasfinallyoffereda low-rankingpost attachedto the crownprince'spalace.
5o
empire. Huang Tingjian makes a point of emphasizing that the besotted Confucian loyalist arriving
at Flower-washing Stream still grieves for his country, "knitting his drunken eyebrows."40
Nevertheless, for at least some later admirers of the "poet-sage,"Du Fu begins to look suspiciously
like the earlier eccentric. Here, for example, is the beginning of Dong You's description of the
painting he saw of Du Fu on his donkey: "Du Zimei was one who lost himself in wine, following his
nature, arriving where he may. Not bound by the rules of the rites, he looked lightly at heaven and
earth, staring down princes and nobles in defiance."41Du Fu's admitted taste for wine, lackluster
official career, extensive sojourns and masterful poetry were all factors that allowed his image to
begin blending with that of Ruan Ji.42
The process by which Meng Haoran takes his place on a donkey in later paintings is related but
intriguingly different. Known as the recluse of Lumen (Deer Gate Mountain), Meng Haoran never
served in high office, nor does it appear he aspired to. He failed in his one attempt at the jinshi
examinations, taken at the late age of forty when he traveled to the capital Chang'anfrom his home in
Xiangyang (Hubei Province). According to an anecdote concerning this trip recorded in his official
biography, when asked about his poetry during an impromptu meeting with Emperor Xuanzong
(r. 7I2-56) Meng Haoran recited a poem that included the line, "BecauseI lack talent, the illustrious
ruler has rejected me." Xuanzong was offended and upbraided Meng Haoran with the remark, "You
have not sought office, and We have never rejected you." Meng Haoranwas orderedto return home.43
Meng Haoran's lack of genuine interest in a public career is supported by another incident, also
recorded in his official biography, in which arrangementsto be brought to the capital and provided
with an introduction to the court are undermined by Meng's unwillingness to interrupt his cups
during a get-together with friends. The veracity of at least the first story has been questioned,44 but
we are less concerned with the true facts of Meng Haoran'slife than its perception in the eyes of those
who followed, particularlyof the late Tang, Five Dynasties Period and Northern Song. For such later
admirers,Meng Haoran representedthe pure scholar, "steadfastand righteous"(citing from the same
biography), whose distaste for the material comforts of public office was proportionately matched by
the cultural antithesis: exultation in the glories of landscape. It was Meng Haoran's ability as a poet
of landscapethat markedhis reputationin latertimes, to the degreethat Su Shi, lookingat a
landscapepaintingby Guo Xi (ca. oo-90go)somethreehundredyearslatercouldjokethat the
"soundless"
poemwithinshouldbe sentto Mengof Xiangyangfordelectation.45
Poetandloverof
wine andlandscapewith little, if any,interestin an officialcareer,MengHaoran'simagewellaccordedwith that of RuanJi. All that was missing, apparently,was a donkey, so one was bequeathed
him posthumously.
40
This is how Du Fu is describedin HuangTingjian'spoem.Seenote no. 21.
4, Dong You, Guangchuan
huaba,273.
42 Overtime, as revealedin laterpaintings,the specificityof eachdonkey-ridertends to dissolve.Thus, Du Fu becomesa contrary
ridera la PanLangin the mindsof somelaterartists.Dong You'sdescriptionalreadyrevealsthe beginningof the processby which
the collectivepersonasupercedesindividualspecificity.
43 OuyangXiu, Xin Tangshu,juan20zo3,
5778.Frankel,Biographies,
4-5. The translationhereis that of ProfessorFrankel.Kroll,Meng
Hao-jan,especiallypp. 13-22. See also Paul W. Kroll, "WangShih-yuan'sPrefaceto the Poemsof Meng Hao-jan,"Monumenta
Serica34 (1979-80),349-69.
4
Frankel,note no. 19, 13-14;Kroll,MengHao-jan,15.The secondstoryis alsofoundin Wang Shiyuan'sprefaceto Meng'scollected
poems,which is datedto within a decadeof Meng'sdeath.
45 Su Shi, "GuoXi qiushanpingyuaner shou"(Two Poemson Guo Xi's "AutumnMountains,LevelDistance"),Su Shishiji,juan 29,
154o.
51
Like Ruan Ji and Du Fu, Meng Haoran represents a specific subset within the collective persona of
the donkey rider, defined by that for which he was best-known. In his case it was poetry and
landscape rather than wine that distinguished his donkey riding. This brings us to the true subject of
Travelers in a Wintry Forest, and the painting's true interest. As Zhu Jingxuan's title for the Wang
Wei painting recorded in Tang chao minghua lu, Lu Yu's title for the painting seen by Ge Lifang, and
the poetic lines of Su Shi cited above reveal, Meng Haoran chants a poem while riding his donkey.
This explains the content of the purported Wang Wei inscription, with its citation of a couple of
choice Meng Haoran lines, as well as the fact that yet another snippet of a Meng Haoran verse was
written on the second painting seen by Zhang Ji. It also explains Dong You's description of the
painting Meng Haoran Riding a Donkey, which, as we will see presently, focuses entirely on the nature
of Meng Haoran's poetry.
Within Travelers in a Wintry Grove, itself, there is an intriguing indication that the subject is
Meng Haoran composing a poem. The key lies with the mischievous servant holding an oblong case
trailing behind the donkey rider (fig. 4). The case proves to be an enduring feature in Meng Haoran's
specific iconography. It appears again in a Southern Song rendition of the same theme stylistically
datable to the early thirteenth century and the school of Li Song (fig. 5), and it perhaps is what Dong
You describes on the back of Meng Haoran as a lingsheng basket in the painting that he saw. The
function of the container is revealed by the composing habits of two other famous poets: Li He of the
late Tang and Mei Yaochen of the Northern Song. In his official biography we are told that Li He
wrote poetry at great speed, flushed with inspiration. Every day at dawn he would leave the house
riding a colt followed by a servant-lad with an antique tapestry bag on his back. When the Muse
struck, Li He would write the verses down and drop them in the bag, waiting until he returned home
later at night to finish them.46 In the mid-eleventh century, a scholar named Sun Sheng discovered
that Mei Yaochen used the same method. Flabbergasted at the rate of speed Mei Yaochen composed
poems, he decided to spy on him:
I found that whether lying in bed or eating, traveling about to see the sights, he would never for a
moment stop chanting lines and ruminating. At times he would abruptly withdraw from a party,
grab a brush, and jot something down on a little piece of paper. This he would put in a bamboo
container. As we were traveling in the same boat, I was able to examine the container secretly. It
turned out to contain poetic phrases, half a couplet or even a single character. He had put in
whatever he felt might be useful in some future poem...47
A highly magnified look at what the servant-lad pulls from the container he holds in Travelers in a
Wintry Forest shows it to be a slip of paper with writing on it (fig. 6). What is written has so far
resisted efforts at deciphering, but there can be little doubt that what these three (?) characters are
meant to signify is nothing less than the poetic lines composed by Meng Haoran as he rides through
the frigid forest. The container is a key indicator of the painting's true subject: that profound
moment when poet encounters the drama of nature and is moved to song.
One can only guess of the content of Meng Haoran's poem - three different verses are already
suggested in Ge Lifang's inscription - but what proves to be of much more significance is the nature
46
47
TheCollected
PoemsofLi He
Ghosts,andDemons:
OuyangXiu, Xin Tangshu,juanzo3, 5778.TranslatedinJ.D. Frodsham,Goddesses,
(SanFrancisco,1983),xv.
Sun Sheng,Sungongtanpu,in Baibucongshu
jicheng,(Taibei,1964-70), xia, 6b-7a. Translationby JonathanChaves,ThePoetryof
(New York,1976),48-49.
Mei Yao-chen
52
of thepoemratherthanthe specificlinesbeingutteredby thedonkey-rider.
Whatkindof poemis
thebitsandpiecesthatcomeasone
composedfromthispracticeof filingawayin a bagorcontainer
LiHe, we aretold,neverwrotepoemson a given
ridesthroughthewintrylandscape
of Xiangyang?
SunShengcontinues
topicandneverforced,asotherdid,hisversesto conformto a specifictheme.48
his investigation
that
intoMeiYaochen's
one
of
the
poeticpracticeby noting
coupletshe sawin the
bamboocontainerread,"Inwritingpoetry,no matterwhetherpastorpresent,It is onlyachieving
the 'evenandbland'thatis difficult."
At firstit seemsdifficultto reconcilethemysticalandbizarre
callforthe"evenandbland"(pingdan),
buta closereadingofMei
poetryof LiHewithMeiYaochen's
Yaochen'scriticalwritingson pingdanrevealsthat firstandforemostits emergencedependson
naturalness
andspontaneity,
friendOuyangXiu emphasizes
of LiHe's
preciselywhatMeiYaochen's
it with the conventional
writingby contrasting
poeticpracticeof writingto set topicsandthemes.
JonathanChaveswrites,"MeiYaochenmaythus haveusedthe termpingdanas a sobriquetfor
realisticpoetry,poetrywhichtookits maininspiration
fromtheexperience
of therealworld,rather
thanfroma corpusof conventional
Thisperfectlyaccordswiththekindof
imagesandallusions."49
in hisdescription
ofMengHaoranridinghisdonkey.Theremainder
of
poetryDongYouarticulates
hislonginscription
readsasfollows:
... MengHaoran]bravesthe wind andsnowtraversingthe mountainslope.Followingthe roadat
Xiangyang,the lines of poetrythat come to him by theirown accordnaturallycarrythe icy frost
and sleetingsnow,thus causingthosewho recitethem to shiverwith cold, theirteeth chattering.
This is not the kind of chantingthat can be derivedfrom the mood of white snow appreciated
from [the comfortof] a deep andprivilegedchamber.Poetsalwayspresumethat if the poemsof
men who do not meet theirdue arenot the utmost of purityand bitterness,direct
extraordinary
and abruptin their expression,then the emotionsbehind their resentmentand longing are not
deep. If one's wordsdo not carrythe highs and lows of resentmentand longing then they float
aimlesslywithout flavorand are incapableof exciting others'imaginations.It is essentialthat
one's lines and phrasesbe full of purity and imbibe deeply of the refinedairs of rivers and
mountainsto leavebehind the realmof man, and it takesthe braceof wine and chill of frost to
highlight povertyand resentment,pain and longing. Do awaywith those innerchambers,and
then one'sbreastcanbe aloofandproud.[Ifnot all of thesethings] how couldextraordinary
verses
emerge?Zheng Qi (d. A.D. 899) said, "Poetrythoughtsareatop a donkeyamidst the wind and
snow on Ba Bridge. How could one possibly come up with anything here?"5oPerhapsQi was
compelled to make this comment upon seeing the painting of MasterMeng. Otherwise,how
wouldhe knowsucha thing?51
Real poetry must be based on real emotions, real experience, real landscape. Dong You establishes
the central contrast between Meng Haoran's frost-riven poem, spontaneously impelled by the
sleeting snow at Xiangyang, and the kind of superficial verse extolling the beauties of a snowy
landscape written from the material comfort of a warm chamber. At the heart of the contrast is the
more fundamental paradigm of privilege versus poverty, officialdom versus reclusion, the capital
versus the provinces and landscape.This antipodal structure is highlighted by Dong You's citation of
48 OuyangXiu, Xin Tangshu,juan203,
5788.
andtheDevelopment
JonathanChaves,Mei Yao-ch'en
ofEarlySungPoetry,133(with transliteration
changed).
50 This shihuais foundin Sun Guangxian(d. A.D. 968), Beimeng
suoyan,in ShangJun, ed., Baihai (Taibei,I965reprinted.),juan 7,
2 a-b. SeealsoYou Mou, QuanTangshihua,in MaoJin, ed.,Jindai bishu(Taibei,1966reprinted.),juan 5, 24b-25a.It is discussed
in moredetailpresently.
5I DongYou, Guangchuan
huaba,253.
49
53
Zheng Qi's famous remark, which emerged in answer to the question, "Has the Minister recently
come up with any new poems?"Zheng's rueful response reflects recognition of the fact that one must
be on the "outside"to write a good poem. Ba Bridge was the major bridge about five miles east of the
Tang capital Chang'an, and its significance in the cultural milieu of the time was as a place of
parting. Ba Bridge essentially marked the border separating the capital, with its associations of
culture and wealth, from the hinterlands, exile, a minor post, or the reclusive life of one like Meng
Haoran.
The subject of Travelersin a WintryForestis not simply the making of a poem, but the making of a
certain kind of poem, and its representation depends not on such facile signifiers as the oblong case
with writing or even the chilled and focused look on Meng Haoran'sface but on the scene around the
donkey rider that inspires his verse. Whoever it was who painted this large hanging scroll possessed
remarkablepowers of description. It is not simply the realism of the landscape that impresses. We
witness, as Meng Haoran witnesses, an inexorable process of order, and we are humbled by its
presence. Twisted bamboo, pitted rocks, trunks blasted and knotted... these things reveal the
unrelenting passage of time, and the fragility of those who pass in the frozen stillness of a winter's
day. One need only juxtapose this painting with the seemingly light, almost frivolous, version of the
same subject in the Southern Song fan (fig. 5) to understand that it is not technical skill that provides
Travelersin a WintryForestwith its majesty. Rather it is a true empathy, if not first-handexperience,
of precisely that which Dong You describes:the depth of poverty and longing of extraordinarypeople
who imbibe deeply of the refinedairs of riversand mountains to leave behind the realm of man.
II. A Solitary Temple amid Clearing Peaks: The Structure of Landscape
Dong You's inscription for the painting he saw of Meng Haoran riding a donkey bespeaks a
familiar cultural paradigm: the opposition of reclusion and landscape to the world of officialdom.
Familiar as it is, however, the subtleties and variations of its manifestation in painting have yet to be
fully explored. An illustration of this is provided by WinterLandscape,painted by the mid-fourteenth
century Ma Yuan follower Sun Junze (fig. 7). With Dong You's inscription in mind, WinterLandscape
suddenly welcomes a new interpretation. In the foreground we find the warm comfort of a palatial
chamber, and a scholar seated within who perhaps seeks a clever verse from the cut sprig of plum
blossoms on his table. His gaze leads us out to a distant donkey rider crossing a bridge, heading
towards the unknown through a chasm in the rocky cliffs. Foregroundand background are meant to
contrast, just as the wild prunus growing from the sheer distant cliff is probably intended to contrast
with the fetishized ikebanaso carefully arranged on the scholar's table. "Do away with those inner
chambers, and then one's breast can be aloof and proud," writes Dong You, implying that a better
poem will result. Sun Junze's painting elaborates on this idea, utilizing Ma Yuan-style plum trees
and their important place of appreciation in Southern Song culture to emphasize, in a manner his
Hangzhou patrons of the fourteenth century could well understand, the poetry in the painting.
The structural model that Sun Junze's painting is founded upon long precedes the immediate
descriptive source of his images in the late twelfth-century painter Ma Yuan. In fact, it is present
with the emergence of landscape as a major genre of painting in the tenth century. Our focus now
shifts slightly, away from the humble equestrian to the landscape he traverses and the manner in
54
which the artist's composition of that landscapeechoes and expands upon the semantic values lodged
in the donkey rider. A recent article by Richard Barnharthas shown that an integral relationship can
exist between figure and landscape in these early paintings.5 More than simply inhabitants of the
landscape, strategically placed figures, Barnhart argues, potentially function as the "eye" of the
painting - a kind of personality-window through which the painter creates, and through which we
view, landscapesof a particularsubjective experience.
Barnhart'sargument is in part built upon Mi Fu's brief comment regarding that same Li Cheng
painting in Master Baoyue's collection of the scholar riding a horse that resembled Wang Wei's
painting of Meng Haoran. "LiCheng's figures never went beyond this," Mi Fu's comment continues,
suggesting that the scholar on a horse (or donkey) represents the "eye" of Li Cheng's paintings,
particularlyin contrast to the figures painted by some of his followers: "Inother paintings [attributed
to Li] the figures are ugly and strange - gamblers and rustics that look like actors. These are all
paintings from when Xu Daoning worked exclusively in Li Cheng's style."" But Barnhart'sinterest
here is less in Li Cheng than Xu Daoning, victim of Mi Fu's condescension, and though he briefly
discusses in his article an important attribution to Li Cheng, A Solitary Templeamid ClearingPeaks
(figs. 8, 9), the connection between Mi Fu's comment and the donkey rider who enters this landscape
at the lower left is never made, despite the fact that this is probably one of the finest illustrations to
confirm Barnhart'sthesis.
Increasingly this essay focuses on Li Cheng and the influential role he plays in disseminating the
popularity of the donkey rider motif in later landscape paintings. In order to place Li Cheng's use of
the motif in proper perspective, however, it is important to sketch some of the developments during
the critical period between the eighth and tenth centuries. We begin with the observation that Li
Cheng was not alone in utilizing the donkey rider as a signifying element in tenth-century landscape
painting. He is prominently displayed not once but three times in Zhao Gan's well-known painting
Along theRiverat First Snow(fig. Io). He appearsfirst on a donkey-like horse accompaniedby his now
familiar servant in a small copse of trees on a path by the wintry river, wearing on his face (like his
mount below) the howl of the chilling wind. Moving from right to left, we cross a small bridge and
soon encounter two more riders, this time on donkeys, engaged in animated conversation as their
small group battles the wind marching upstream. A possible clue to the meaning of the double
donkey riders motif is found in a famous shihuaanecdote told ofJia Dao and Han Yu (A.D. 768-824):
Jia Dao was on his way to the capital to take the examinations,riding a donkey and reciting
poems.He thoughtof the line, "Themonkpushesthe gate underthe moon,"but then wantedto
change"pushes"[tui]to "knocks"[qiao].54[Debating,]he gesticulatedwith his hand,makingthe
motions of pushing and knocking. He had not yet decidedwhen without realizinghe rode his
donkeyinto the retinueof the MetropolitanGovernorHanYu. He discussedthe matterwith Han
Yu, who respondedthat "knock"is good. Thereuponthe two rodeforward,discussingpoetryfora
long time.55
RichardBarnhart,"Figuresin Landscape,"
Archives
ofAsianArt XLII(1989),62-70.
53 Seenote no. 5.
54 FromJia Dao'spoem "TiLi Ni youju"(Inscribedforthe HiddenResidenceofLi Ni), Changiiang
ji, SKQS,juan4, 2a-b. The line in
questionis the secondhalf of a famousJia Dao couplet:"Birdsroostin the pond'strees/ The monk knocksat the gate underthe
moon.
55 Ji Yougong,Tangshijishi,juan40, 613.
52
55
Oneof theimportant
pointsof theanecdote,aselaborated
uponin otherversions,is thefactthat
HanYu andJiaDaocouldignoretheconsiderable
in theirsocialstatusandtrotalongas
differences
if onewereto illustratethe storyin a literalmanner,Han
equalsdiscussingpoetry.Consequently,
Yu, in accordance with his exalted position, would be portrayed on a more stately mount
That,of course,is notwhatis seenin ZhaoGan'spainting,but
accompanied
by ranksof attendants.
it remains possible that the painter borrowed the idea of a donkey-riding conversation from this
celebrated poetry-chat, even raising the arm of one rider to make the motions of knocking and
pushing, in order to emphasize the poetry in the painting.
Poetic qualities, in any case, are precisely what traditional commentators have read from this
composition.
Chao Buzhi (Io53-IIIo),
for example, wrote a long preface dated IO86 for a painting
titled Catching Fish, whose composition, according to Chao's detailed description, corresponded
exactly to Zhao Gan's Along the River at First Snow.56As John Hay has shown, Chao ends his
inscription in poetic reverieabout the landscape ofJiangnan.57Huizong's imperial catalogue Xuanhe
huapupraises the compelling characterof Zhao Gan's painting of Jiangnan's scenery: "Though one
may be amidst the wind and dust of the capital, one look and it's as if you are right there on the river.
It makes you want to gather up your robes and stroll along, inquiring of boats along the riverbank."58
One might question the wisdom of jumping into this particular painting, from which one faintly
hears the chattering of teeth, but its compelling chill certainly emphasizes the fact that we are far, far
away from the dust of the marketplace (as another critique of Zhao's painting put it),59 precisely
where "real"poems are written. If there is an "eye"to Zhao Gan's painting it resides in this trio of
riders, whose focus is established by the wide-eyed stares of the fishing lads acrossthe river.
Given the frequency with which his name has already appeared,it should not surprise us that the
painting CatchingFish for which Chao Buzhi wrote his long, descriptive preface was said by some at
the time to be a draft by Wang Wei. In fact, there appear to have been a number of versions of this
composition extant in the eleventh and twelfth centuries, most of which were associated with Wang
Wei's name.60 The possibility remains that Wang Wei had something to do with the original
of AlongtheRiverat FirstSnow,butit seemsmorelikelythatwearewitnessingherean
composition
various
contemporary
practiceof misattributing
exampleof whatMi Fudescribedas the pervasive
Suchpaintingsincludedthose
FiveDynastiesPeriodpaintingsto the famousTangpoet/painter.
in Shu(Sichuan)
goodsthroughthemountain
depictingscenesof muletrainstransporting
produced
(likeZhaoGan's)fromJiangnan.61It hasalwaysbeenassumedthatthereason
passesandsnowscenes
of somevaguelypoeticqualityinherentin thesetenthwastheperception
forthesemisattributions
56 ChaoBuzhi, "Buyutu xu,"Jileji, SKQS,juan34, 18a-I9b.
57 John Hay, "'Alongthe River during Winter's First Snow':A Tenth CenturyHandscrolland EarlyChineseNarrative,"The
Magazine(May,1972),294-303.
Burlington
58 Xuanhehuapu,juan 11,125.A painting of this title is includedamong the nine paintings by Zhao Gan in the NorthernSong
imperialcollection.
"
59 Xia Wenyan'sTuhuibaojianof I365: [ZhaoGan]paintslandscapesandforests,all of which arethe sceneryof Jiangnan.Often he
addsbuildingsand towers,boats,fishingvillages, flowersand bamboo,scatteringthese things about to capturethe flavorof the
scene.Onefindsnota speckofdustofthecapital'smarketplace."
(Myitalics).HSCSed.,juan3, 49.
60 In Io57Wen Tong wrotea recordfora paintingof the sametitle. The compositionof this particularpainting, judging fromhis
description,differedfromAlongtheRiverat FirstSnowin its details,but in generalit soundsquite similar.Wen Tong, "Buyutu
ji,"Danyuanji, juan22, IIb-I2b. Thereweretwo paintingsof this sametitle in Huizong'scollection,alongwith a numberof other
paintingswhose titles relatedto fishing,travellingand snowy rivers,might suggest somethingsimilar.Xuanhehuapu,juan Io,
Io3-o4. During the SouthernSong there were at least four CatchingFish paintings attributedto Wang Wei in the imperial
collection.ChenKui, Nan Songguangexulu,in Wulinzhanggucongbian
(Taibei,1967reprinted.), vol. 5,juan3, IIa.
6, Mi Fu,Huashi,
189.
56
century landscapes.The donkey riders in Zhao Gan's painting suggest that those poetic qualities may
well have been intended from the beginning.
Students familiar with the writings of Su Shi have long known the important role poetry plays in
conferringrespectabilityto painting as a gentleman'sart in literati painting theory of the late
eleventhcentury.Theyarefamiliar,aswell,withWangWei'scentralpositionin thisconceptof ut
Whatwe findnowis serious,credibleevidencesuggestingthatthiswasnot,as has
picturapoesis.62
beenpresumed,
a lateeleventh-century
andthatWangWeimayhavehadmoreto dowith
construct,
the ideaof mergingpoetrywith paintingthansimplyas figurehead
forthe latertheoristswhose
interest
was
in
primary
assembling
legitimizinglineages.Thekeydocumentis ZhuJingxuan's
Tang
chaominghua
lu ofca.A.D.845,whichprovidesthe earliestevidencethatWangWei paintedMeng
Haoranchantinga poemon his mount.63Thisalonedoesnot confirmthe roleWangWei'slater
admirers
wouldhavehimplay,asZhuJingxuanwaswritingalmosteightyyearsafterWangWei's
death,wellenoughremovedto castdoubton theearlierpoet'spersonal
effortsto forgea marriage
of
the sisterartsas crystallized
in the imageof Mengon his horseor donkey.Whatbecomescertain,
however, is that these developments for which Wang Wei was traditionally credited were in place by
the middle of the ninth century. Moreover, they were integrally related to landscape painting's
emergence as a mature genre.
Prompting these developments, undoubtedly, were historical and socio-political factorsrelated to
the far-reaching changes taking place in Tang society after the middle of the eighth century. These
were of too complex a nature to be scrutinized here, but in the broadest possible terms they must be
associated with the gradual collapse of the dynasty, the fracturingof political authority, and growing
uncertainty concerning the role of the educated elite, or scholar-officals, who serviced the state
bureaucracy.64The path to a successful careeras an official was difficult enough in the best of times;
as the old structuresof ordercame down one became increasingly conscious of one's relative success or
failure, and how these alternatives were manifest in cultural paradigms (thus, Zheng Qi's remarkon
his paucity of inspired poetry). As the Tang dynasty falters the donkey rider archetypegains currency
as a self-image, mirroring, perhaps, a growing sense of isolation and class-consciousness among
scholars. The Jia Daos of the world (who, incidentally, was described as "a lean monk lying in ice"
andfailedin his numerousattemptsat the capitalexaminations)
do not necessarily
becomemore
but theirplightbecomesmoresharplydefined.AmongZhengQi'scontemporaries
numerous,
we
find such poets employing the donkey rider as Tang Yanqian (873jinshi), Sun Ding (active ca. 893), Li
Dong (active ca. 893) and Lu Yanrang (900 jinshi).65Sun Ding and Li Dong both failed in the exams.
Littleis knownof Sun;LiDongwasan impoverished
poet.Priorto his discoveryby theAttendant
SusanBush, TheChineseLiteration Painting:ShuShih (io37-imo) to TungCh'i-ch'ang(1555-1636)
(Cambridge,197I),especially
22-43.
63 See noteno. 9.
64 See PeterK. Bol, "ThisCultureof Ours":
Intellectual
Transitions
in T'angandSungChina(Stanford,1992),especiallyChapterTwo:
"TheTransformation
of the Shih,"32-75.
65 Tang Yanqian,"Yi Meng Haoran"(RememberingMeng Haoran),QuanTangshi (hereafterQTS),juan671, 7668; Sun Ding,
"Xiadizuizhongji Chu"(Sentto Chuafterfailing in the examsandgetting drunk),QTS,juan7I5,8220;Li Dong, "Fude songJia
Dao zhe Changjiang"(Writtenuponreceiving'SayingFarewellto Jia Dao on his banishmentto Changjiang'),"Xiadisong Zhang
Wu gui jin Jiangnan"(Afterfailing in the exams,sent to ZhangWu uponreturningto Jiangnan),"Bilii"(Deaddonkey),"Yiyou
sui zi Shusui ji chenshi buji"(Writtenin theyiyouyearafterleavingSichuanto takethe examsbut failing),"GuoJia Langxianjiu
di"(Passingthe old groundsofJia Dao), QTS,juan721, 8272-73, 8274,juan723,8297, 8299, 8304;LuYanrang,"Jiyou"(Sentto a
friend),"Xue"(Snow),QTS,juan715,8214.Of the last two citations,which are coupletsfrom LuYanrang'spoems, "Xue"is of
interestforbeing mentionedby Guo Xi as one of his favoriteversesforillustration.Linchuan
gaozhi,641.
6
57
Censor Wu Rong (d. ca. 903), Lu Yanrang was a poor wandering scholar. The multi-talented Tang
Yanqian was relatively successful, but he too first experienced more than ten years of failure with the
exams, and his official careerwas far from tranquil in the last spasms of the Tang dynasty.66
Also of note is a propensity among some of these poets not only to present themselves in what was
by now the well-established persona of the donkey rider, but also to root that persona'shistoricity in
role models of the past. Li Dong's extraordinaryadoration ofJia Dao presents the most extreme case
of this (he fastened to his hat a small cast bronze replica of the earlier poet and repeatedJia Dao's
name a thousand times a day as that of the Buddha).67When he appearsin Li Dong's poems, Jia Dao
is oftenpicturedon his donkey,justas whenLiDongputshimselfon a donkeyhe is likeJia Dao
recitingpoems.In similarfashion,TangYanqianputsMengHaoranon a donkey,perhapsforthe
firsttime,in hispoem"Remembering
By the endof theTangdynasty,a processis
MengHaoran."
Considerthe
well-established
wherebypersona,role-modelandselfbecomemutuallyreenforcing.
finallinesof a poemby LiDong,writtenwhilethinkingofJiaDao:"Yearafteryearsomeonepasses
with high grades, But he does not surpass the donkey rider who enters the painting screen."68Li
is consoledwiththehopethathispoetry,born
Dong'spersonalfailurein theexamsandofficialdom
fromthesamekindof sufferingthathe imaginesforthepainteddonkeyriderJiaDao,will earnhim
a similarpieceof immortality.
Thoughbaseduponthesmallnumberof extantpoemsofa handfulofpoets,thistinyglimpseinto
thecircumstances
attendingtheendof theTangdynastyservesto builda contextforunderstanding
LiCheng'suseof the donkey-rider
imagea generationor two later.Thankslargelyto the detailed
researchof Wai-kam Ho,69 we now recognize that the basic facts of Li Cheng's life in the middle of
the tenth century well accord with the general pattern of others who described themselves atop the
donkey. Li Cheng was a distant descendant of the ruling house of the Tang dynasty, which fell
thirteen years before his birth in 919, and thus a disenfranchisedsubject during the chaos of the Five
Dynasties Period. His father and grandfatherwere both renowned Confucian scholars and holders of
significant official posts. Li Ding, the grandfather, had served as Chancellor of the Directorate of
Education; his son, Li Yu, served as a Judge on the Qingzhou circuit in Shandong Province, the
wasnever
regionwhereLiChengwasborn.LiChengflirtedwith an officialcareerbut apparently
ableto establishhimself.70
Huizong'sXuanhehuapuembellishesthis sketchwith a vivid imageof how Li Chengwas
LiCheng'sreputation
wasasa
bytheearlytwelfthcentury.Likehisfatherandgrandfather,
perceived
with
never
met
his
and
he
learnedConfucianscholar.Despite greatambitions talent,however,
imperial favor and consequently drowned himself in poetry, which he also excelled at, and alcohol.
He painted, we are told, as an outlet for his emotions, with no interest in selling his paintings.
Thereupon follows the celebrated story of Li Cheng's encounter with a grandee named Sun who
sought to engage Li's talents as a painter only to meet with the haughty rebuff:
da cidian(Taibei,I985),488, 500oo,
66 Informationon thesepoets is convenientlypresentedin TanJiading,ed., Zhongguo
wenxuejia
506.
67 Li Dong would transcribeJia Dao'spoetryfor thosewho appreciatedit and exhortthem to burnincense,treatingit the sameas a
Buddhistsitra.
68 Li Dong, "GuoJia Langxianjiudi,"QTS,juan 723,8304.
on
69 Wai-kamHo, "LiCh'engandthe Mainstreamof NorthernSungLandscapePainting,"Proceedings
of theInternational
Symposium
Chinese
Painting(Taibei,I970), 251-83.
70 Mi Fu statesthat Li Chengpassedthejinshiexaminationandservedas Aide to the Courtof ImperialEntertainments.
Huashi, 191.
andit is likely,as Wai-kamHo asserts,thatMi Fu is mistaken.
This, however,cannotbe corroborated,
58
"Fromantiquity, the four classesof people have never intermixed.At root I am a Confucian
scholar,andthoughI allowmy heartto wanderthroughmattersof art, it is simplyto accordwith
my feelingsand nothing more.CouldI allow someoneto bind and deliverme to residein some
guesthousein the imperialdistrict,where,licking brushesand fixingpigments,I would thus be
countedwith the lowly sortsdescribedin paintinghistories?"71
Xuanhe huapu also records that Li Cheng went to the capital in search of a position with the
Ministry of Rites but fails to state whether or not he succeeded. His late years, we are informed, were
spent wandering lakes and rivers. He died in Huaiyang (northernJiangsu Province) in 967.
Certainly the Xuanhe huapu account of Li Cheng is much enhanced to emphasize his scholarly
background and distinction from the artisan class of professional painters, reminding us that one's
efforts to understand who Li Cheng was will always be colored by what one suspects to be the
eagerness of traditional historiographers to cast him as one of their own. Similarly, one's efforts to
understand his art will always be frustrated by the fact that there seems little chance for any of his
genuine paintings to have survived into later times. Nevertheless, we can be certain of two things: Li
Cheng was affiliated with the shi class of scholar-officials, to which the basic facts of his family
background attest, and Li Cheng was immensely influential as a landscapepainter - the "masterto a
hundred generations," as he was commonly called.72 These two factors, I believe, account for the
popularity of the donkey-rider motif in Chinese landscape painting. Li Cheng adopts it as a selfimage, following a practice already well-established by others like himself, and his many followers
and forgers insure its longevity by perpetuating the imagery of his paintings, a process that can be
followed from the eleventh century through the Zhe school painters of the Ming, and beyond that to
painters in Koreaand Japan.
A brief survey of some early paintings confirms the association of the donkey-rider persona with
Li Cheng. A Solitary Templeamid ClearingPeaks(figs. 8, 9) has already been introduced. In another
important Li Cheng attribution, VerdantForests,Distant Peaks,one finds the donkey rider fording a
stream midway through the handscroll composition (fig. II).73In similar fashion, Yan Wengui's
Towersand Pavilionsby Mountainsand Riversreveals two donkey riders and servants crossing a bridge
near the end of the scroll (figs. 12, I3). A hanging scroll attributed to Yan Wengui, Towersand
Pavilions by Mountainsand Streams,presents a single donkey rider crossing a bridge at the bottom of
the composition (fig. I4). Although traditional sources do not specify Li Cheng's influence on Yan
Wengui's landscape painting, Yan's period of activity (ca. Iooo) accordsperfectly with the first wave
of Li Cheng's spreading popularity, from Li Cheng's native Shandong (Zhai Yuanshen) to the
mountains of Shaanxi (Fan Kuan) to the capital Kaifeng, where Yan was active.74 The narrow,
71 Xuanhehuapu,juan 11,II4. Wai-kamHo also translatesthis passage,op.cit., 270-71. He hypothesizesthat the man namedSun,
72
73
74
who in othersourcesis calledSunSihao,wasSunCihao,a wealthywine shopproprietorwith connectionsto the imperialfamily.
Ho alsobelievesthat SunSihao'srealnamewasSunShoubin,a captainof the guards.Op.cit., 271-75.
To the best of my knowledge,this monikerfirstappearsin Wang Pizhi's late eleventh-centurymiscellany,Minshuiyantanlu
(Beijing,1981reprinted.),juan7, 90-91.
This painting,in the LiaoningProvincialMuseum,Shenyang,is well reproducedin Yang Renkai,ed., Li ChengMaolinyuanxiutu
(Shanghai,I989).An inscriptiondated 1219by someonesurnamedXiang informsus that the painting was owned by his greatof LuYijian(979-Io44) andthe daughterof LuGongpi(998-Io73).She,consequently,
grandmother,who wasthe granddaughter
would havelived in the middle of the eleventhcentury.The style of the paintingis consistentwith a late tenth or earlyeleventh
centurydate.
Liu Daochun'sShengchao
minghuapingappearsconfusedaboutYan Wengui'sorigins:he is describedas both a nativeof Wuxing
(ZhejiangProvince)and Shanggu(ShanxiProvince)who cameto the capital(Kaifeng)duringSongTaizong'sreign(976-97). In
any case,Yan is listed as a pupil of Hao Hui, an unknownmasterof Hedong (Yongji,ShanxiProvince).Liu Daochun,Shengchao
minghuaping,HPCS, I29, I32.Zhai Yuanshenwas one of the threenotablefollowersof Li Cheng;he is said to havecapturedLi
59
delicately chiseled peaks billowing like distant clouds and temperate use of ink seen in these two
paintings are characteristicssharedwith A SolitaryTempleamid ClearingPeaksand associated with Li
Cheng through textual descriptions.75
There are mounted equestrians in Travelersat the Mountain Pass (fig. 15) and Xiao Yi Steals the
Lanting Pavilion Preface (fig. 16). These two paintings are interesting because they are usually
associated with artists generally considered outside ofLi Cheng's sphere of influence: Li's predecessor
Guan Tong (active ca. 925-50) for Travelersand Juran (active ca. 96o-80), the monk-painter from
Jiangnan, for Xiao Yi. A closer look, however, suggests a connection with the "masterto a hundred
ages." Travelersat the MountainPass may owe some lingering stylistic debt to Guan Tong's tradition
of painting the hard, unforgiving mountains of north central China,76 but it distinctly reveals Li
descriptionof a billowingcloud-likemountainandtreeswith
Cheng'sinfluencein the mannered
branches
"crab-claw"
(featurescommonlyassociatedwith the Li Chengtradition).Although
at theMountain
PassmustpostdateGuanTong.It was
undoubtedlyan earlypainting,Travelers
probablypaintedby a minormasterof the earlyNorthernSong who was keen to adoptand
variousfeaturesof landscape
accentuate
paintingpopularin hisday,manyof which,likethedonkey
it is documented
that
rider,werederivedfromLiCheng.As forXiaoYi StealstheLantingPreface,
Tang,LiYu, to the
by LiChengafterfollowingthe lastrulerof the Southern
Juranwasinfluenced
I
thatthe
have
he
Songcapitalat Kaifengwhere receivedimportant
commissions.771 arguedelsewhere
Therideronthebridgecanbe
of thislandscape
alreadysuggestsLiCheng'sinfluence.78
composition
evidencesupportingthe hypothesisthat this paintingreflectsJuran's
consideredcorroborating
late,capitalstyle.
relatively
Thedonkeyriderappearson a bridgeat the endof Xu Daoning's(ca.970-ca.I052)Songofthe
Fishermenof the mid-eleventh century (fig. I7). He is seen again traversing a rickety bridge towards
the end of SolitaryTemplebyAutumnMountains(fig. 18), a painting also attributed to Xu Daoning but
more recently associated with his younger contemporary Song Di by Richard Barnhart.79Both Xu
75
76
77
78
79
Cheng's"airs"(feng),in contrastto Xu Daoning,who capturedhis "energy"(qi), and Li Zongcheng(whosenameliterallymeans
"Li,Worshipperof Cheng"),who capturedLi Cheng's"form"(xing).Zhaiwasa nativeof Shandongactivein the late tenth - early
eleventhcenturies.Liu Daochun,I34. Fan Kuan,a nativeof ShaanxiProvinceand Zhai Yuanshen'swell-knowncontemporary,
admitsto havingfirstmodeledhimselfafterLi Cheng.LiuDaochun,I32.Li Cheng'slastinginfluenceat the capitalKaifeng,where
he wasalreadypopularin his own dayaccordingto his biographyin Xuanhehuapu,is confirmedby Su Qi's (987-Io35)observation
that the landscapedecoratingthe HanlinAcademyby the late tenth-centurymonk-painterJuranimitatedthe style of Li Cheng.
Discussedin the text below.Seenote no. 77.
Perhapsthe most concisedescriptionof Li Cheng'slandscapesis thatof Mi Fu:"LiChengusedlight ink in sucha waythat it seems
as if one is in the mist of a dream.His rocksarelike movingclouds.It is all extremelyingeniousbut lacksreality."Huashi, 215.
A succinctdescriptionof GuanTong'slandscapepaintingis providedby Mi Fu:"GuanTong paintsroughmountains.He excelsat
"Passand river"
capturingthe forceandmannerof 'the passand river.'His peaksand rangeshavelittle refinement."Hua shi, 21z5.
can either referto the specificregionaroundthe Hangu PassandYellow Riverin westernHenan,or simply the roughtraveling
terrainof mountainsandrivers.The two conjuresimilarimages.
This informationcomesfromSu Qi's (987-Io35)descriptionof the Juranpaintinghangingprominentlyin the HanlinAcademy:
"His brushtracesarewild and untrammeled.He imitates the work of Li Cheng yet is able to establishthe marvelsof his own
SKQS,juan9, 5a.This informationwasfirstbrought
personalstyle."Su Qi, "CixuHanlinzhi,"in Hong Zun, ed., Hanyuanchunshu,
to attentionby Wai-kamHo in his catalogueentryforJuran'sBuddhistRetreatbyStreamsand Mountains(ClevelandMuseumof
Art).EightDynastiesof Chinese
Painting(Cleveland,I980),I8-I9.
PeterC. Sturman,"MiYourenandthe InheritedLiteratiTradition:Dimensionsof Ink-play,"Ph.D. dissertation(YaleUniversity,
1989),234-37.
RichardBarnhart,"ShiningRivers:EightViewsof theHsiaoandHsiangin SungPainting,"Proceedings
Colloquium
of theInternational
Art History,p991(Taibei,NationalPalaceMuseum,1991),45-95, especially60-70.
onChinese
60
..
................
..
.........
........
...... ...............
.....
..................
..........
...
...........
...
....
.............
........
....
.........
....
.
.............
........
.....
.........
..............
.
. . ........
....
. . . .......
.................
......
.................
.........
............
... ..
....
...
.....
.......
.....
.....
....
.....
....
.....
.....
.........
...
........
.......
.
......
.
....
...
....
...
.
I. ... ...
.
.
.
.
......
........
......
.......
....
......
.................. ....
.....
..........
............
.......
I.
....
...
....
.. ....
.........
...
......
......
........
...
......
.......
......
...
....
........
........
.......
.......
..........
....
.
......
...
..
.......
...
......
.......
......
....
........
....
.....
.....
..
........
...
......
.......
...
.................
....
.....
..
......
...
.........
.....
......
.........
.. .....
...............
.........
..
I.
...
........
....
......
. ......
............
...
....
....
.......
.............
.....
........
......
*.
...........
........
........
..........
.....
..................
.......
...........
.....
...................
........
....
....
.........
............
........
..........
.....
......
...................
.....
............
..........
s,.,....?....
..
....
....?.,:1
F.
..........
....
....1....
....... R
....,X.... ......
.................
.......
.
.
........... ......
........
. . ...Is
...........
.......
........
.... .....................
...........
I..... ...........
.......
...............
.
............
..........
...
.......
...
......
I.
.......
..
Fig. i.
a..............
.....
...............
...............
...........
..........
..
.........
.........
.........
.........
..
........
......
.
..........
....
.......
...
.....
......
. ...
.....
..... ....
...........
...
...
........... ...
Li Cheng, attributed to, Travelersin a WintryForest.Northern Song period, A.D.
cm. The MetropolitanMuseum of Art,
Hanging scroll, ink and colors on silk, 161.6x
New York, FletcherFund and Bequest of Dorothy GrahamBennett, 1972.
975-1OOO.
ca.
io0
5?4-k
'p
&
VQ
IR4,10
?7j,
P.
AR "n.
.....
. A?
m
%
0,t?3?1
zM.
V
AITS
ws "z
vxA
K M
U.
am
'0
;,in
*1A
4.
%
Am,
?MI"
47
V,?
R.
:12
o,%.
o: MOP
X:
WIN ?2
U
INS
OM
0it"S
.........
.. x"ll
7.'V
............
...
.
az,
?om
?
....
...R
......
v
I-A
AMEN""I'VVI
i?
M ',Mli
o?.
wlx
z
_g
A.
WANI?: .
A.-M'.
&
W:?!nIa!: ?
Ng x
DAP
A.
ev.R,
mg,
A',47:"
'A
ON
'n
?
MEN
V
P.
m:d
W,
MWIM
i:OM
-2
nA
<:
0M.
iV
k?:
RION,
i";
DiX
ALE:,
'o
go
j.3
MWPI;
Al
I.Vt-
A W,
Rv v
20
M
..........
.......
.....
....
IN
p,
?:W
a . A 11
I-i
%
A
AR
4N
g
W?
-p
..........
MR.
-k
e
miff
lz
.Xm?%
gi 'a
alW
gqw.qr
gy
M
IM 'U8
Fig. 2. Detail of figure I.
...
.......
...
. .. .
%
X.
....
.
..:.......
....
4-.......
:.....
................
X. ......
.....
....
...
...
............
:e xX
....c....
.... w:
..........
P.,
Mo?Z;.
c?l
:rxX.
........
......
......
.......
..
........
..........z. ...
...........
X
xx. ..............
v?
3's
m ....
.........
..... ?X
....
.........
i
Is
e
................
... ...
?,x
. W: ...
...........
A:
:.,
0-
'K:k
xn
...........
..........
....
............
....
.......
0--x
n.........
...
ail
A-
....
X,.
.. .. . . .
. . ...
..
M.
On:
ma
t
0 4,1 .
..
-,X?: -
.'s
x:g.
A
gon
ON
IK
IE
....
.......
.
A
S:A
...........
...... ..........
..........
.
k
.c x
M
66 ........
AM
aR.
.0......
...
. .....
ggaz
ME
gg.,RlM
OAM
K
. .......
.......
M."!
...... ....
..............
..
......
....M
,
?R
. .. ...........
?ga
..........
........
............
....
......
. ...........
......
..........
...... .......
V.
.......
........
.........
:
: PRIME
.......
......
.....................
.......
......
........
......
......
............
ox
P,
3:1
..........
Kr:
&M.
IN
'Ns.
10"0mg
R
.P
IN
N
u
Wool
-01 V
............
......
..
AM,
........
..
. :' MIN
M"
.........
..... "'M
Im.
..............
K-,so
-M?
AN%,,
.............
-K/
Fig. 3. Anonymous, ReturningDrunk to a FloweredCove.Southern Song period, ca. A.D. 1200.
Fan, ink and colors on silk, 23.8 x 25.3 cm.
The Shanghai Museum, The People's Republic of China. After Liang Songminghuace(Beijing, I963).
&
":
-illy
MI
I I : ?:I
?
i.1'
?
'.
oil:
?:
,
?e"
07
0
iv
"A
PAS
vol
ARM,
Jix"
Man"
win
o:
6sit
Awill N
44
ISM
sundmaw
fog
Rfl%'R
x No,
71
As
9W
A I ?"
oil
Aft
.
'iV
77
ni?
"I?.4
vy"A
ON
7?
70
-pm
I
New
Fv
IN
7
X.,
Q7
AN,
A
ART
a
AW
J.-
ir
is.
?4
..
.
lv.
'YN4
As
RO K
Z
Fig. 6. Detail of figure I.
Fig. 4. Detail of figure I.
,-:
-,.......
.%.:::..
I:,......
.....
.:.1?.:.,:?...:-:.,
orwr=
.........
K.....
...V..-.....-...-..............-..-.:......%.%I...
....:...?.I,.::..
!..
.:......
.1.11
::.:.:.
I.-....?.. ?.m
.?.............
...
:1
-......
-..:-..:.
:.:
:,%-,.::
..........
...
. --:: %.
..?l:m
%
.
.,..
:,:....:,
? . .:1::::i"?::,
?.:
I
1.
..,11
:-:,:-,::,.??
:- ?
S
....
......
?
I.....m,?.
?
..m?:?:.
..........
I
..
.....
1::::1::I.:.,.,...
I
?:
...
I
.
,
-I.
......
*?::e:.:..:..,
..............
:::?:::..
, ?........
..
:,?Xi:
..:
:1,I
?
...
%-..,M
.1
-:??:?,..
.1'..
--%....
.....
....
....*?.?.
......,
...:.
..?
...:..
?...
..,m-.
::...
..iV
...
l?:.
...:,@:,-:.
?.......
...
..,..:.,
....
.1
1- ...,
..
...
..
?,.
?'.
"...
??
..
...
...
.
,
..
I
`
..-.
I
...
.
.
......
-...,
I
..
.,.
:,
.
O',
5IIw
.1.
.-:?X
.
.
...
.
I
...:...:
.1
I.....
..1
....
...
':
?:,:I?::
%
.....m.
I
::::.
W::r
I
....
...
?
...
ll.?
.
.
M
,
;
Aw
10
M,
.
.
,
....
..
I
....
?:
:
,
.
.
11
111
..
-m.o:I
:
.:
..
X:::
.::.
....
..:,??
'
..
...
:
......
"
.1
w
.
..
.
.
...
:,
.
.?..
::?
::.
,:.,
".,.:
.
.
.
?
.
.....
..,..
...
..
...
?
.
,
I
...
..
.
..
,"
M
.C
.
-.
...?
.
I::
.,,...:%:..:
....,A%..r
.
.
:,x
.....
"...'...
....
...
....
':.....-?
...
.?....?:?.
i:
??
.
........
....
..
.
??
,
::,:.
:
,,
.
Z?.-??:O.--.aj.r,
.,.,?:
..
.
?
.
i...,-....
:
XI.:.
.
:r..:%
:...?.?
:::,...;:::...:
:
::
.
..
...
.
...
.
X.
::?
..::.
..
..
....
......
........
....
?
..-:-1
.
.
1
:1
1....
,?ii?.
.....
.
I.
..
??::
...
....
?
,::.:.
X?:.?:
.
?
1:
I.
...,W
,.
.
I
......im?
:
....?
..
.
*:
:.;:?
:%:
:.:
x?.::z
:::::::.
.
I
m.-?
...
:...
.?X?:..:.
,111
:..:,?
:-::..
.....
?A
??M
.
I
?.v-..?:?
..
1,
..
..
..
.
.
--m
?:
:;;:....
I
rsi:?
.
I
.1
...
.....::..i%
iKi:?::%
?!5?:
,..,?:
,
-M
..
.
.
.N.
I
.4
,
,
?-..A
?.:..
:
.,...
..
....
.
.1.
W
mm
?
V::-4::.?
.....
?:..:
....:
In:
,..I.
.....
N
.....?
..
--1b..
I
..
W
-I--.x
:::
.
..
?::
?
....
,X,?,
I....-:::.
.
?
%:.
:....:.
?:?.:
:.-,:
:
..-:e.::?
.1
;.?,,
?,
::
1
:..'
....
.
:
.,?%
.:-.
-..
:..:
.I
.:.:.:
.....
w
::,.....
......
.? ..-?.::.
...N
-,:::"
I...
...-.,...:.?.
v:::::
,:e
.............
....
...
?..,,..?.......
...% I...
?,I
.-....
......
.::......
.....
. :1.
.:r
:?.:,
....
.....
..I:I
..:.
%
?
....
::..:?
::
:.:.??Y::,,..
I?
.....
.l..
......
...
..........
.....
I? ."
......
::
I?
:.:.:
,:.:::
?.:x....
:...:.
:::.1.:...:..
........
:
..?-::,
....
........
....
....
?
..
...
.....
:::...:
.
:12m.
Y
?.
....
.
.
1?1
..::::.1::?..
1.
Y?.,
.1
...
..:
:::,:?
.:9.:..
..?:
..
.....
:%.
::
.?::
.:,
.
...
.......
...
..
I
I
.
...
.
I
:,.:.,
x
.:
......:
-...
..
:
.....
,
:1
X
.1,
.x....
1:1
,
1.
...
:
.
..
.:..::.........::::,
.:.
.,:z::..:
?-.
im:,.
I
?
I
.1
.
.
.?
V.
.
.......
.
...
....
...
.
..
....
:::,:
?
?,
-..I-..?1.%
:?
,K.M
:::?
.,::..?.?:
...,..
.
I
. .?:? .4
?..,..
..:::
...
.?
?I....::
-I......1.:-11y...1..
%
..
:
::
_
:
...
.....
...
:I::?
:::,.::
.:4
.:?...
.
...
.:-41.,
.
......
I
.1
?
'I
?
.
.
..:...,:.:,:.:,4
I
?
?
.
.:
1
e
:
.
I
.
,
%..??-,-..X:
,.:s::.."
...
,
-5:
.
....1....I.,
.
..
,
:-:
..:.,:
1,
I
.
.
.
.,:.:.
,.:,
.
.....
l
.
..
.
.
:?
I
.,
.
..
.
??
..
..
.
....
......................
?
.
%:.:.::
.
.
.
.,.
.
?l
r
,
.
.
-.......
.............
..F
.4::
I
11
..
...
.
,.,I.il..
.:
.?
?,..
...
..
.:
I
I
.:.
"
-:?
......:.*",
...
:.::
:,??i??:?:ji?:.,
....
-.:
.,
..
......
::
:?:::.:
:
;
?,..:..
......,
I.....,
........_
....
1.
,
.
.
.
.
.
....
..
I
.
.
,?
..
I?;.:K?.
.
.
.
::.
.
?:
I
%::::
:
?
:
%::
...
..
.........
.?:.
..
:,
:"
...
..
..
?:::?...:.n:..
.
..:
%..
....
.
?::.
?i??
.
..
:?
..
.::
....
.
.
.
..
.
.
.
?
I
.
....
:.;?.
::-...?::.
:?:.
..?
..1
I
A
:
..
....
..
....
..
.....
.
4.1
.7
..:..
..:...
.::....,..-..e.:
..
..
1.
1
-?
l:...
.
I
.::
'.........,
.....,
.
..
.1
.1.
,
.,.?,..,I.,M
,..?.
....
?..
.....?,.
1:::....
11
.
,:..%:.:.
.:.I..
.:.:.
..
...
.
,:&
.
.
........
.
..
.....
....
......
.
.
.
?
.:i?i:
...
,.
:l?
.
...
.
?i3..::
:
.,:::..:
.::?
?:.x:..o.::.;.,::.
A
,
....
:...::
,.:.....
..
,......
:...:...:..?::..:Y..?..r?:??:?::?
?::,.
..
...::::...:......
......,:
..
..
...
???:
?
g
's
....
..
.
.
.
?
,
.....
I
:-,-::
:
..I
::
.:
:
....
.:.,:::.::
,
.......
....
..:M
:?
.:.
%..
...:
I..:
::.?:
:
::.
....-.......
?
...
...'...
...
......
..
..
...
?
...,:..-8::.
.
-..
.g
.
,imii?,?::,
??i:i:
...
1
:??:?:???
.:.
?,
A
.
.......,
..
I-x
.
I.."
I.
...
?,
..
.
I
...
........
.,
,::..::
::,::4::::e
.....
......
?11
:1?:...
..
::.
.
I
.
.
,
..?,.......
.
......
...
?:
4:-,
.::
-:
?
%
....
...............
?l:.::
.:.,
.
..
%?
....
.
,:::::I?
,l:
.
....
..
.............
..
...
..
..W
.
..
.
,I
:
........
I
I
??
.
??:.,
Y.,
1.
:::
...
?
M
I:
..
..
.
I
.
.
...
.?i;;!:F
...,,.
]:,
.?
4.::4
.
.
...
1
..
.1.1
?
S.
?
.!?.????:i???..??:...:!:?,:!::.?j:???:.???.:i?:?.??::?i!?,..?,?:i??:i:::.......
Y:1:-...:%:?.....,.:1:-.....
.::..,
..
......
..
a
.,
:
I
?
.....
.
..
X.
..
:.
.
Il,
..::
?
v.-:.....
.::.:.4..
,:::.A
-.,::
.l:
I
I
e....
"...,o
.
...
?
....?i?
......
.
I
.1
..,
-:W
.1
:.,,:..:?:.:.,:::
.....
.
.
.
........
..
,..
i:??
?
..:..:.
.:..::,
?
I
.:
,;
I
.....
--,
I,:
.?.....??
::?
x.::::?
?
,
.?:?,,:,:
%.
:?
.?
?
?
.
I
?:??::??j?:i??,.::::.??:?????::?,,.??:?:?,.
.
.,
.
.
.1,
...
....
,.
I
...
-I.U::...
..
.
.
.
....
1I
.
..::e:::.,::m;I:.:
.
1.
..
,.
,
.
...:,a
..
I...
..,,,.,,?
.g
,:
.
-:...:.
...
.
.
..
I
?
.??
..
...
...
.
.....
.
.
...
.
I
,
??
I;:?.ii:?
i..,
..
5..
1
-ip
..":::::
1....::::
.
..
...
.:?,.::z::?,::.%":...?:,:,:?.::.?:,?.:,.::?:,?..:..
.
?
A
?..
,::.
x.
:ii?
.
.
.
::.::::.%%.K.:::
:
I?...:
:%?:?
?*%:
c.
:?..::5::
-::?..
.
"
.
.6;.
.k1.;:.-::
.:..
:.:
....
.....
4:
.11:
-:::-?..
,,.:
.....
...,..
........
....
....
.?,:?!?
N
-....
..,::S?;:
.??K.:.::?
.....
-.:?
I.:.
1.,,..
?..:?.
:;...
?-....:
.........-Y
-...- ..?::..
...
::..:,:?.
?,
11
...
1:,..::.
I?.
....-....,
.;..
,...-.?::
%:
.:.?rlrl::
?:
..,
-..%.,
:? III.1.
...
I.*i-..
..-.....
5??:,?.
.?,.:
.-.
l,".....,,.,
n.l..::x?m;,iN
.-,.
?- ...
.:.:.
.
-.....
.*?..
.
.?i!!
,?
:.:..
..,....
...:.X...:
.....
...
.-.,,
.?.
.:?.:m
.om
.,.:.8
.o
..%
.,....
....?.?R
?.:::,.:
..
..;:
...
.....
....
:.
4:
....
I? I I
...e....
...x"
,?:ii::,
.?:..
...?::
.:?:.:...
.%:..
:..
:::::.
::
..:;:.
4l
...-..,
.....
I..1.:..i?
,-.??,A,
:..::x
:?,:
.
?
:??:
?.
.
2.
i.:??:?
...
.
.....
.
.
,
,
:
.
.
I
:-e
:
::?.;:
,
%
...
..
.
.
.
.
..:.,
F
I
I
.
...
M...
.
?
.
.....
..
.?,
..
.,..l:,
......
.
...
...
.,.
?
.,.?.,,
,:.&S?.,.:..r.,
_.::II.::..-:,:i;?:
..
-1
I
.?..::::??....
....
,4:.
.
?
.
.::
..
..
.
...
..........
.?
.,
.
%
.....
I
?
.
.
.
?
.
....
.
..
..
I
.5::
...:...
.
.::....
.ii"'...?
.
,.
z."o'n
%:.1-.
,-?
.
:
.....
. .....
:
...,
...-M
.
,
:
.X
.,:
...:
..,
.
.........
.
W-,.,I'...
,
- ...
-.Xl....
,
.......X
.?
:??.:::,
..'.........
.
1
...
...
......?
.
....
..
.
:
ii.
.
.
.
?
.:::
.1:1.
I
.
I
..
.::.,
:il
,;?i?.:
.
.
...li?.
....
.
1
I
?
:
,
.:...
:.
.
.
...
,.,
I
:?
l.M
.
.,
,
...
.
I
1,
,
.
..
.
l
..e:.
l
il
.
...
..:
il,
:ll;l
-..?.:x?
I
I
,.
......
.,.
..
?e
.
g.
.
*
p
:?
::?:
,
.
.
,
::
,
Iel
.
.
?
I
.....
.,
%
...:
.:....:
:
,
..
-..........
..
.-...
....
..:..
::.
.?o
.
.
.
%:.F
I
.
.
.0.
..
n:I,
,
.
.?
I
?
?nk:.:......
... ...
.....
,
.
O,
:
?
.
l?:I
?
::-'sW
,.
I
.
.,?..W.I
.? .....
.
?
.
-?
.
I
.
..
...
..
..
..:
.
......
.
I
,?.1?X:::;-....
..
.
..
..
.
?
I
I
.,
...
.
.
.
I
n:?
l.
..:ei.
?
?.
.....-.........,....
1,
.
....
3%
X.::1..
I
.
.
.
.,
:??:.%.
?m.
l...:::
,
.?
....
..
.
.
,
.,:
.1
.
..
.
.
.
..
.
:
,
?
.1.1
,
I
.::..
I
.
,
", I,
.,
,........,.1
I .I
..A.
-. .?.:?
........
....
...
.P.?N:,
.:.
I, ?I, I 1.?:.
l.,,K
.
, l?
-::F
...5
..............
.?...
...11.
....,?:
....,..,::.
??
.,:...
.-. ...?
l..
.....
...
...-.... y.
-R.. 4?
..,.:1...
....?:
..::?,?:.jc
.?,.
...
me......
.......?:%Iz
::
??,
Z?,.,.n.
.
.?:
I...
,?,g*
??n.,,.,.
::::
,......
.,
,.
.
V.
...
.
,::
.4?i
si
..?::N,?:::?m;?-.
....
...
..
...
..
..
,
lil?
.....
I,. ..
.
.
.:..
.I.:..
..A
....
..............................
I
I
:
W
I
.
.::.
,?
:
.
-.-::
?
.
::
I.Ill.
:".
.
,
,
.
-;I.
?
.
.4....:,
,
.
1.
.
M:
K..
-.
.
?
..
?
.....
,,:i.
:???:.,.:i..:?.?:.??.:;
...
....
.
..
?1?:?.-!!?P,:??:
?rlii??;
;
-...?%
..
.
?
?
...
....
.
:?
I
,.
....
.
i.K
-,.?,::
?A
-F
-,.::im,::ii,-:
?,.?i::?.?:???i::.?:?
,
,?.
M
.
.
&
..,
.
A
.
...
J.:::,
..
:
o
.m.ee:.:.
.,O.,??
,...
W
.
;m.,
...?::
.:
.
.
?
1.
..
.
?.
?::?
V,
..
c,"'I
.,:..
;?.:.,
:??
...
,
.
.
?:O.?ffl
......
-,:?
:I:
;
..
.
.
,:
.
,?mmlx::?.
..
,
........
,`?%
I....
..
.?,
. ..I..I
..,...
...
?:
...,-. .. :.
,.
.,
.,R..
-....,X
...:
.... ? ?11
.l..
, -?,. .%.
e,........
.:..-.,x?..
I?...1
......
?....,.....
,
.
,<
..,w?
:
I .. ...,I ?...,?.-5..:ii,l*:,.:?ap,-.1m
... lr.:i;.1;l,.::..
.:..Xla
?:r
.,?
. :..I .:.?,..
..
..
.
..?.:m.;,,...
.,T
l:... .:,
.:
.
.
.
x:.,:
...,.,.
X
.:??,Ii5i
....
.......
,
:......
?l:
-..-X,?:::
.I.:: , ..."...
...
M
...
:
?:,..e...I I??
. v;K$
,K,,::?
...:.
4'..
I.j:?w
-..',,
:?::%
?, .
I
?....
...i.,t.
...i.?,
i:
.,:?:
.:??
::.,:....:?
?X
..:::::
..I,
-.... :::
]1?
.,-n.
-.:,..:.
.1r.-m.
I
.?I
.1.
......mI:.:...
....
.:.,.-..-........-.:..
...
?:..;.:*?:,
.:
.
.:.:.,
.-?,...
.,....
...
...
..
..
..
..
.
.:::..:%,.".
......
.:,
.- : .1. % .I : -:. .
-.?
.
_:
N
.?
: ; :Y. .Y:
,
:Ri.?,:
.4
1
.K
?T
:.l,?:
?
?.:-
:,
.:?
-1:
: . , -.. , .. : , . . .:%? . ?% . , . , . ? .. , . I.: ". .:. .. I,,? .1 I.,
-?.: .1: , : . : - .
,
!?
?.:,
.:
.?,
W
?
ME
:.
.:1
,.:?
.:>
,
,:?.
*
r
:.?
%
1I
?
?.irl
.
.1
.
?
:.
.
.?:
.
l:?J
?:;?-
,:.
.c
.% ': .? .:
;!?
?.
?.
.:
?. -
:
.:
? .M
&,?.
.:
I
I
.
?lims
I11
, a
..
.,
I., 3.,F .. . .
A
?
l
*i,
?.
?
-:%
,
:.
?;.,
Fig. 5. Anonymous, Riding a DonkeyThrougha WintryGrove.Southern Song period, ca. A.D. 1200.
Fan, ink and colors on silk, 26.9 x 29.9 cm.
The Shanghai Museum, The People's Republic of China. After Liang Songminghuace(Beijing, 1963).
.:
. ..
.. . . . . . . . . . . .
. . . .. . . . .. . .%. . . . . . . .
.. . . . . . .. .. . .. . .. . . .. . . .
. M..s.; . . . . . .. . . . . .
i . . .. . . .. . .
..
.......
.
.
.
:x
..
.
.
no.
.
.
ow
MR
?jkm:
. .
.
.
ox,
X.F
. . . . . .. .
.
.....
.. . . .. .. . . . .
. ..
.. . . . . . .
.
.
.
.
.
.
.
.
...
. .. . . . . .
..
... .. ..
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
. . . ... .. . . . . . .
.0:
CO.K
X
I.: ,:.
-k
AM
.
.
.
.
.
.
.
.
.
.
.
.
..
Fig. 7. Sun Junze, WinterLandscape.Yuan dynasty, fourteenth century.
Hanging scroll, ink and colors on silk, 125.8x 56.4 cm. Tokyo National Museum.
Fig. 8. Li Cheng, attributed to, A SolitaryTempleamid ClearingPeaks.
Northern Song period, ca. A.D. Iooo. Hanging scroll, ink and light colors on silk,
111.8x 56 cm. The Nelson-Atkins Museum of Art, Kansas City, Missouri
(purchase:Nelson Trust) 47-71.
0-
I
OUTS
Vol
.
zo!W On,
to,NO
lipold
ow?S.'",40?k
"x,
I,,
,-SK",
-.1,
%
0
Xv
moo
VIA iA
4.
OWN
of myRAN
'14
4
Wl
1;x
:1
UK&
w41,
ixj?
Aw it,0,-,, A,
A-,
dqj
SOON!
-its
dbl
17
Wt
2,
op,
S"_
J-2
?2
ew-.=
W'.MY
ia.
. . .5x'
. .
NO
IWO
IL
AS.
.
..
ME
x5p
.
4?
14
1
roy',
M
W ?,
.
V.
a
pop!
-W-WRAM
mom
4.
t,
Q,
-1
....
....
AWN
te
-
in
who
_2
ARAN
X
X
Q
U.
r1A
A?
?41
--z...........IN
?T
*z
...
Ra
e?q'
-
7-
Vol
MAI'
Ago
:i.
iim
14J4
MINIMA,
Rt
7?4
ie.
.AMq
M
ny tt".MAID-..
?-g
?
5m
,
X I-
Aw
E,
4,
."
,t- -_
R.-OW
U.
zoom
1
01,
Wx wal
.......
... 4.rAw.
13
In
17
4
?v_
RIM
M
2.1-?Z
W
IT
cost
sit"
10-11
Fig. Io. Zhao Gan, Along the Riverat First Snow.Five Dynasties Period, ca. A.D.950. Detail of a handscroll, ink and colors on
silk, z5.9 x 376.5 cm. The National Palace Museum, Taiwan, Republic of China.
.....
....
?:W
AMP,
lp,
Ix.z
0"
?X,
Xr
IPQ
.:I??
-,Q
OR
,v
W-iu
:W
S?.I,
MEMO!
A?W
...
.......
.....
....
......
Vol
VIA
..Q....
.
....
.....
M: OF
ON
:IW
Nnm:
A,
In
wx,
xK-
W.4R,
:g.A
INn.
SSR.
...........
....
W.
5.
........................
Fig. 9. Detail of figure 8.
? .I- .
? - I , '. - '
-,.'--- ?'?.,
.
.
.
'
- ,??4
'
'
-. ,z??
'I
.
1
.
?
I
?1.
.1.
.
I. i,-.........
,
?.
,?.
""M'?ff
x..I
,-I:
"T??
r"ft
`..,
.
.
li,
M
.'
..
?
?
i?
.?'
"ll
W!
'
I
A
MEM077
?-,
,
1,
'i.?,:..l
?.
,
,-''.-.?'
I-, ??'IF',-'.Z?
I-..'.:
,.....
?--"F.1110
...
?
.
M,.
..
.
?
".?'v
,?
-.1
.
I
,b
?.
lul.?.
?'
&M
.."
..
,
IZ"
f
?.;....?
W
..
.
'A
'-,
,
V
.?...':
.
-"
1?
?
?5,..;
.
I...
141;
.,
I%,
:.1i.,
I
w
-'N.'....,?,
?.'.
.
-:
.l.-'-lll..
-;
mIM
'.
4
.r?
-..
!2
S
F?
,?:-??_
m?.
1.
....
'-.-?..?
..
..
?lw
.
.
-?;?F
.'-"?
??
.:'.
'i
A.,
.
,
I
-.
no
-.?..e
.l...
'4i:
?q
?.
..
?
.
"
I
?
.,
'
'-'-'
r
?
?'
?
:
?
?'
11.1.
Uv
,.1-11F
4
I~
?'
"
".
,
M
,
.N.
??
'
'wft
1,
.?
*'-...
-?
I.,
?.?,
'?'ef?
_
I,
?.w?
.
%:?
?:'
I
"
.
,
.
1:
...C.M
a
&
-I
'.
'--"?:
.
..
,
4
?&
ll?..
,
"
...l.,
??M
.
??
...
.
I
?
?'
.
_
.
1.
.
'..?',??
,
,.
?
"
lm
,
."
,
?
-11?11
,
mw?
,
.
,
..'..
'.....'-.R.
4-'?.'.'-;?'5m
.
....-M..'...'
'
'
?
1,
P7
,
i
.
?
.
'??
??--?,"
'?
I
;
$;j
"
.
,
?
,
'
.1"
.
I
I
.
?
I.
?
I
.
1
1
I
'
?
.
or:'?m
.
I
'
l
,
'
.
'
%
,
.
'
"
'
.
I
11 P,'?
I
.
.
1
I
.
I
N
,
? . ? ''
I
r ', '.? I
.
,
.
,
1?? . ' I S
,
I
?ii . ? ..??11?
.
1
'
I9
I;!:?
1?5
I
-fw.
':
?
x,
...O, ;'All.x?
Ie.
.
.
.. ??-.,
.
.
?
.
?
-,
.?
,.
M
.
?'*-...
,
"
.
I
?
.
,
-4?
--.-?
,
.
.
0'-'.
':
I
.
.
,
?
,
?'.
:
"??'?"l
.",
>'?
".
I
1
'7
S?:Al
,
::
,
I:
?.
''-M,
?
1.
-??'
.
?.
.
*0"
,
1
', I:-:.'
, ,?.
-rl
a
i
0'.:
I?'
I. .? ??
?' -''.? I..
I..
1?
.'-?:F
I T.lV
???
'-'!?.
? ",'.,'?'
. . : ... I..?'??'?-I-l
wT;t''i-i?*-?x.?
I ,:1?
0",...I'0?
-.1??'
I ?''.?"...
?I 41."'.?*?"
WN??5??
?.'?
.1 :m?
??.."
, -,T??II?m;1,2
..'
,ON
'?
.:..
,V':?
1...,:.
,.:"
W.w
?'
?.,"0v.-"wg?'
?.?
l!m
...
?"l!
.*
'..'
, ?: -?'Tl
X.:
--,--.
""'?
,3'*?I WI ?-SZ
'-'.."?
?'
-,0- b I.'?'
!':
a-.-.S:
?%.'?'
?"?'-!"
Al
?1?
;'-,
,?;-'.?'..?'Z.."I
A-1
' I,??A
-,',
4.
;."
?-'-'
I..?,e'.'
'.1
,??
-1'.I`1-7F
'4'Ir
?:?
.Iv,1.
",I?I11
:-,I?Al.
,.- .??
'?'"
?;..
.. -.:-..:,.:"
?1?
?-I1,
q?..
4:.?.
,.,, 1.
:?
11
,??
?4..-?41
1.
..4,
-'?..'.
?.?.4
.'?
-"...'
?,"-'.'
"
,IM4.
..I I?...:..1:
"*..:?"..
k,
A,?:'
`%
..
m"
:l
W
?'
wil ial. 'o,
N 'I
I.,
IN
?
1%
?':-
?
ift
Z':
A0.
?e:'
1,
?:.4.Cl
'71 M
NUM
:.
?;.'
:??
.
!?
'I . :M':
.e V. i
-
v
I
`4
?
OZ.-
-1Z
-
o ? :?!l
Mi
j &*jM
,
? ,!
'Fil
8A
Xllr'41-.A? 'W
?
4
.1,
-.4
?-.? k.'-'?.Rwrvl
O
A
N,
"
'>
V
,u
-. -?
?.'-
K
mx'S[?i? " "'S
'17 5
%.i
:."
.?
l?
q
'?
-m
I
."
m
a
"
I`
li
':,
I
2,
r
x
,
"
I
"
l
?'
15
.?"
',A
lp
?
?'
'
I
-
? ":'&
"
,6
-
"
?'
.'?
I
4
'T.':g'? .w
A
;0,*;
,'. ? . I'- _ ., ,I' ? ? -, ': 1 .I I
I,?'
I."
1?
'?%
.
?':R"'.',?'I'w:?
'??,??,4":?'i'l??,??IV'???,"?,:i?.?.,"'?,?, 7A'I
-
?
?.
.' -?:M
"'kx?
.?:
I'?."??.. . . . . ,. ?.,. . . '?.,
V.,
1?
ft"
'?
.'4
1
.,
%
?
t
-.1 1 .1 -1
?."':l
,
'
;'.
.'
:m
.A
',?
-wm?.M
,.
m
S
,'?.;v
?"'.
?'."
ML5
.?
'?,
.?
'.-:
-1
I.,
I.-
-:1
?l
'?
!"
A
.r
'.?W
?
? %"*^
?:
-:;?'
'.T.'M
?
.;
4
"
,
?".
O.v
?
,
?
%,
*
104
? "M;.'
?
;Ix
%
.
K'?I
",
?" ?.
-1
"
"
,
1.
1,
I.:
"? 'n- V?"'
%,
-" ,?
':?
c
-'?
?.'
,
i?.
?,
y?
I.
?
?
?w'
",
?-
?"-
"?.
,.
:"4,.?
tt
?
4
.
W
,.
-'?
?
?
r
-.
,'
1.?"z
i Ng?
,?:"
.?
"
I'l
?
',?
I
'?
gwm'r
,
Op
N
?;
%'Of il
,
y
?w
J?
,I
?. '
V"
`
l,'?..t'
?
,
%,.
?z;x.?'
'?
,.?
IA"':
1?
4ar"Mm"
?I?
"A.?-A',,'
1 I'r
"
It,
.-%'?1.112
'-,i""?";`
- K,
,?,Ir' ,0, -:-!A
I A ...,'....'
..
,""'.
:?
,I??'
F.'?'
,1.
--??'
,.II--"
-?,?
..-.
'7'?
.-.x???..l?."W.oe
.,l
.?...
'?'
I.?I-??
,??:,?'
'III??
..,,.'....'
"
-.?1,?'--Io.?
?'
??":....
..?.".
....
v-I ,, %
e:?
-`W
???.
-lk
.-?
,'..
,. ?'
,u
X'-,
-I---, ?
',I m
."
.?:"?
4*.
-.1-1.
-:'???-t'?.*"?
'.*
I1?
.4-?.IN:'..
..-?...
I?,.??
?,?.
-...
.
.
R
?
,?.
,
w
.;"
?.
-?
??i.?......
.
,
1
-,R-.??'
V,
1.
.
?
.
g...
11
I
...
..
.
?'
?
'.r.s."'o.";
t'?
....u
v
"
7"
"
V
P'??'4
A?V
?
.
"?
1
-,
't
I
11,
,
??
11
.
,
"
.%:.;
1.
,.
.
,
J.v:?p'pwg
?'-'
I
.11
?
.-,
,
.
I
,
?'
*
'?
'
'
,
,
1,
,
I
'?.
.'EZ7
f
,
?
,
?
.
.1.1.?
noft
j?
M-1--l'..
I
&
pc?
??"
.......
10
..
....
-11-a
?.&
I
-1-11,
",
,
.,1?.4
'W,
.: l??.:
..,
"
?o
IN
-4?,
...
......
.lg
,.-...
,??--- '1.1
".
M
: 1,
j--?'.
.....
'.,?k.
I '?
m"',
-....v
-.
#....'...jm
'?
CI-?"
1.
.e?"
-41W
?"'...-.'?Q
".
I?'.
,.I
-?I??
',
...-'
--.1
If..?'
'?..'l
?",'?
.??
W
IV
!W
?-.....
.1
?I,.4I.5
W'..'
I1,Ir
.,..R.??"A?'
;'?.'?,'
?5.'x
..IX
'..
,? 01
?T'?'
?,.%
I?,
...
-,%
,,,
'-,.i?.
......
k?l
?,,I 'I?.'-,?1?
?''
:i5.'
,?'?,.w
?WWI
lm??`1?4?xv.?K
' 'IOU"
Ik
?0
?'.
-F-I .I.
'?
,'"?.'..
,ww
-''d
(... "
.:I - *'
1:'
-?,.,f.
"?'
e'?Mp
??
-,.,?
"
-,::,
tJ?l
,'??'.
';4--,,.?'
. 'C
1.C.1.1?r'?Of.'-':
,
"
';?'4.F
?.
..
li.1
'8?.
;.....
.?:'
?.?
i?'
:'M
"'%
?.'M
,'U.",
??
?L'?
if
?
.
?-
1 '. -? ' . , - ., . 1.. .-I. - . . - . . ? ? ?, ., - , " . , , - , . -, . I . I . . - . I I .:1 . ;., .'" , 1 :4 . ? . I. ?, ' ?. . .? . '
"',
?-
'gf.
?
,
.;?4.
,.-
1
? ,7'?
".,
q?.
I.,
O
?,
?'
..'
?.
1.. V.N.
11 -?-.%*V
??' 4"
;n
4-44
,ON
'W'%??j
ilw
11
,K
?-?.?.?
- I...?.
.:.?0
-,'&-?
nlew...
-W?
?.??
...".-IRW,
..........
'1?1,'11
.....I??.. I I'.":::.:.
9 c_ ??
,,.N'
...
,-'?'l
....
1.''
.1
-,'..
'.1,,.?"
?"
.?'
1:7
?'.
- -"...
....
- ??
-'?p
rI11
:?'.
4?
:
'k,
f>!, ,,,,
: I 4
? ..x'?W'-?
?
,
,
4'
z
4
?
.....
,,,
??
I
':
k,
A
.
,
::
..
Al.
11
'
"
I
?
,?
,
',
:'.V,
......
?, I. ?'.1,?-I " "? ,:W
- wr
"I,,
-, ?'I
A
..4
..- .,?-,I-T;?
,II t N. .?
...... I
'?'
,4
"A
',?:
?'-?'
AI6 11
'??'
'??:
"?.
'?v ?4 , .,
?J?ep"7'*
,,?.
- -?k:'?
it!.ot?"??-:?
1?1'?Nlx
?w2.1'
-
.
" ?:-. ?'-
?:". ?.
?W
I
'"
7
?'
'?
'?-
"%6
M
,
"',
?
i&
Jw
I
. .,1? .-I " I, _ -I I.' , .1.? .1 I .1, .-, .?I. - ', ? ? .", - ?.- " ?,. -.' ?. ?Als.
OI
q
.?
?'
-d
...'l?
,'?
. .1?1
'a
'?
?:?.?i:.
.??.i?:?
%-.?'
"
?.
41, -1 -
.1
'?:
:.
NA'
?'
?'
?
A l".W
?-
?
.
?
I
E
.
?'
?
X
.
.
.,:
W
? .
I
.1,1 ". .
?I*.
.
?.
1?
2
?.
,
1W
:
,
v
:'.?*
.
.
.
I '?
.
. ?t
.
.
?
,*
.
.: .:?
,".
*
'?,.":'
.?&,
."
K.
I
WM=-:01
., -.*
J.'?,
?,
? ;? .
4
It
"g.
?.
,
?--;,. ,.F. )14"???i???::??.' .
'?k
I
-
-? "'?`w
I
?
?
.
'n-
?
?
%
I
.v
.
IA
?
?'
.
.
"
K.
?
,Xl.
Al
.
1,
?
?
- '."?
. .?4;
l'.4:
"
'.
?5
:?'.
,
I
,.
.?
1
."
,l
4
0
?1'5
-,
A
v;
"
?'."?_ !'?
p? '?
?'
ncp
Ix
R::
,gft
VN
xI.Z
'14
......
.....
A
IF1?
?vi
IMP
R,
w;',
g??
Wo
AW
W.
w??
!W
-75 li"
- - v,- 1. &.
el
.-Kx"
lm
Oin
X:
%A
4',
WMI
.14.
nzai
4 qF:
1:0m
Z
1: IN.:
Q
-pIl
ow,
1?.,
It
g?j
?jw
0-
Pt
or
4
x
Ix
;?.
xx
ux.
All-
4.
Ie
x
OMNO
opE&
WN
*%
A?
W
A;,
Fig. II. Li Cheng, attributed to, VerdantForests,Distant Peaks.Northern Song period, ca. A.D. Iooo-25. Detail of a handscroll,
ink on silk, 45.9 x 141.8cm. The Liaoning Provincial Museum, Shenyang, Liaoning, The People's Republic of China.
After Li ChengMaolin yuanxiu tu (Shanghai, 1989).
it
::':i::::g
:::-::::-::?Ism
SIM
:g-:
~:::
?
:
0,8WRYT
AM
go
--61
Fig. 12. Yan Wengui, Towersand Pavilions by Mountainsand Rivers.Northern Song period, ca. A.D.Iooo. Handscroll, ink and
light colors on paper, 31.3x 16o.5 cm. Osaka Municipal Museum.
. ? .1
.
?V. ---...
.. . .. , ...I ,11
,11-I..
. 11
I?,T'
-1
.
I ............
?,51
'.,..
?
I;??_
?'.4?.
'?
.?,,%
?_!!
....
41',.......,
'10
1I. "."..'A
T
.., ,. . A,
.
4&t!w
I:....
,M
.?,
"".1
I,.%
.....
.I' . . - . e , ??.".g,
....
I
..
!?-:X??*.::.,?'.??
,
?.... :
A
.?:
.
.
v:
,
,
:
,
:
.
,
.
?
"
I
.
.
.
,
..
.
:
,".
,
.
:?
I
.
,
,
".
.
.:.!
:?
...
I
.1
.
I
'
.
.
?
?
I..
...
.
.
1,
?
00,,?.,A,?,.?31,
.
,
?
,
a
.
.
.
.
.
:?I...
I? II ,??-:,....I..:::.l...:.:.l
?
!
?
,
.
?i
?
!?
. ..: .?.....:?!.,!??
.
I..
?x
.
..
.
:?
.
.
.
??
. "...,
I
_?el',
1:1?i
... ..:.x.?:,::.,...
:.:.
I
.
,
I
I_....
I..
1,.....
..........
I.,5. , I '';` , .
:....::
,X:?,?
.
l
.
.I.
r. - ?'e?
::?
t,I I
..Z.,.,.,?Xll,
?
.
.
.
.....
.
'
,
.
:
....
.
.
4.
.
'
.....
.....
...
..
I . ...
..'..,
?
O
.
.
.
,
. ...... %:,.::?::
....
,
"
"
?
I
,
.
0
:
i
.
:?
,
?'
I
.
1
'I
i
.
...
11
.
??.
.
.
,
,
,
.
?.
.
.
?
.:,V
4
.
.
_
..
.
?.
.,....?:
.
.
.
.
.
'
.
?
..
.
..
....
....
??
M
?.
.
'.
:?m
5,:,.?
*.&
.
.
.
?
,m:?::
,
0
...
I
.
;
.
i?
N
a
??
?......
,M.,
.?:?.O:..,N
?.........,
A
...?.;W
....?,41...,.
.?..,
?.
k '
?.,.:W*
?,
.?
W
.,.?:
;7
;,:.,
"',
.."
.,'..n..
"M
.N.?:
I 3
,::,?:',,
.6
.
???,...Iq
.
.
%
T
':
:
-, :,??':
??
-_. I_- , ,
.??:
?,,
?-A
?- ?.?
..:::.........
,?.i?ox
%.
n?,?
k,
L
..:. I..?... _%:.,?:: I .1.11I..?:1,I.I.1..4...:%x
...
?
..
,
.
F.
.
IM.;
?.;.
.
.
:..
,
:
,-%
.
..,..,.:,
-,
?
:':
...N
..,
,?.j
-r
??
.
.......
..
.
.).
..
.
'.
!?.
...._....._
....
.
,
_
.
,
,
?,,.?
...
I
?
.
'.
.
...
3
.
i
.
.?:?.,?:?
,..' X... ...-- ? ,.l: I . . ? i..&..I" ...........?. ?. .,. ?,.......
."
I
.m.t.
,........
.........
::.?..,.;.,.:
.
,W-,
:.-,:?X,.
I
.."?.W
..
.
:
.,
.
,
....
..,.:
,
.....
..
..
.
.
.
I
.
,:.
.
e-:-.-.
.
1.
..
.
ff"'....
.
?m.
?.i!
?
?
II ?I: ?.
.....
..
?.
"
.
.....7
IN
..
.x'
x,
W
,?.,
.
"
..
...
.1
?
.
*.
:,
.::.
..
.
_..":......
? , ,. . P 1 . . U:- w ?:"""'--?
4.
I. - . ?-I-H,..p
I . I
?
1.
.
.- :
I
I
.:
,
.
.?:-.
'.
"I
.:, :.
?11?
,,:?,.
-"4?
%...I
.-I .,
.
,w a=
MR,:1
..,,i
- ,?v?::?M, 7' i It 1.1! , 'l
IC?g
.,:!
. ?-M
:.U.
$.l.M
........
W?q
,
w
'.
0:
S
.,.,M
?.,
"'?
...z...:1
.,w::
V??!
.: .%
.. .?,,.;???,,?_ii,:,
,.,?:,?W??,
,.,?
P.::?
W ,,?,
t.........??!?iA
.....I??,
?,M
. ..,..
........
.......
........
.....--:.
.... M W
1,
",-- -'..-M ,...
......,5 ?
?
IX?.,?
-:..?nmX,?..?:?:.
1:-?...'...
...:?e.:?..'*:
,::::gm
?.?
::?..-_.1 e
A
..,.,
9
.*115
:i
. ,?. ......
......
''
...-sm:
.... :?:..
..-*:.:
I ........'...
.::"....
..,..I
.,::..X
. t.ir
...
,_
..x
... .?;:
:-::Pm:o?m
-..%10
.?
::
..
...
?.r;
o
,
:v:
.
..
X'..
..
?
:,::,-,...
.:?
..
:
?
:.,:,
I
:.....
?:?:
?
?.
-,
.
.1,
....'........"
...
....
..........
..
.
I
?.
,
......
.' I
-:
.
.
.......
?
.
,,.-:.e
,.
'... I
.
.
.?
,
:l:.:...vrl..
.
..
1.
K
'
...
.
?
.
:
:....
.?%
..
?,
....
,?:7,1.
....
?e
.
::?_
I~~
.:?
.,::
"'o
I ..
.?. '.!. ,?:o.0.
I
a
,?.W
- ..
'::.::
??:.?
?::,
? ..?ft
III ...?:,?,..
I
?
? I ?I
::?.....
.1.
..::.:
%
.
M
?
ONS.
.U
'TIMM
Ok !
li!'
?IIF....
',
ail
v el.
.N,3
?51
.
.:?
..,.c
-
?
.
.1
..
.1
A
1?
: ?.
1:
"?gi?pij lj
.,
?_
'
,
l
.,
4/:,
I
...'....-.,:....
.....
....
.....
..,
II " ?1,
%
-I-.....
1.
..:.rl::
?::5:1.:...:
?I - I II..
.-!::?::..,.:?:?
I
.?W.:m
vmb
,
x..
.....
;:,,.8.?.;:,
..,.m
.I
;?
...................1?I "
!?
...
_41
,mi? ",
?J -,
:. _
.?
.- ?:
.,
2-
".
,:?- :,X%.:m?
"?,I
-.
%
.? .
.*?
. !?,.
.1
,-
.
r
?.
I
,?il
?.
.
I
1?.
I
.
III
.: ?.,
.,:
. .d?
.:V
?$ .i
.m
.Ii:
:?
-.
.:
.:<.:l. :?-.:
-:,
,
. ,:
M 'n
?
.
,.W. ?
,?M:
A
,-
N ?, :?E ?, . i?K',
?
.",
O
x
,'.? N:
-.,?
?
M>
M,
.,
.l
.
?:X.
......
'.
e:.
-?M
OF
Wpm
ENO
V.gqg
AW
.?
.W
",.
P?: ?j. . ,. ? ,?., ?., .?
.A
,_.
.
WM .
?.
.
&.
.
.
.:
I:1. ,. ,"
f Ki,?R?!,. - ,?.
i ,:? ,?M
1*
W
,.? i
pog,
?k
.!
:'
wi
I .I- I
M
:-. 1.
:%
. -?
Z.m '
:
e&.
I .M ,."
1.?r
,:
1: ?:
"V
:. ?:m
r?
1
p "
1?
lm
R
.I
o
.
v
*
,.
?q?.q?. ,?
.: ,
g
. .?
.
,
"'.
. ?.P
.
?x.
. . .
.
.O
.
,?!. .
.
.:
?.!
i
:.? ,
,
?
.
%
,.a
.
.
'?
.
.:-
?X.: ,
so
v-
WN
:Rf i:&*:
RMi
5v
4?:
alo. Aw.?
Am:
IN.
0
MR
'Mom
Wig,-
N"
X
Mq
2,
.":
-
,: . ?
.1
?
.-V
,.? :.,
'X%
ve
?,f
WOM:
m
??.,?.,.g
..11::.M
.....
.?.. ......
11:0
.:
-,M
ma , e..,
?Illx
k
, I1 ,
o,? I X
.M
..I-rW
-7Q.
?::;
?'
?i
IM
,.
?', ....R.1:1
1;
...
&.
....
.:,:.:w
?;
.I....
??.,:.
.S:
...
...
ffi?
?......
?',
%
.,.!??:
??::,!:?:j:..:,::
:??.;
NP
..:.
'??
,*,:.,
em??'I;t
W
ORTI
' .:..:P
.k
i.?,..I.
.??
..
.-:%:-:::.:
.N::M
.,....
qu
;.k.
..?.?
I1?
.ft
M.,
....
.11
'..
.
.i.
..,.I.
NMM
...
... ..?.?.
.1
.l.
,11.1
:.,:.;.:.,
;
.:
:.....
?
I
,:?.?.??,
;...
'A
.
IF,:
....,
..?.....
.9
,.,.:.,
:IW
........
a
??_......
.::?:?'.?.::??!:??!.???.?!...?'o.C
2
.:..
..?:?_
i
A
I
%::,.,..?,?
P%
,.M
I
:
.
?
...
,
M
.
?
..:
rM
.,
Qn..
W
W..,
..?.
?:?J.'
1.
.
%q?:??i??".!?.
.l.
..
....
v
.
...
...
.
'N
0.
.
.
I
1
,
?.
,..
.1
.I.
??.?,!::i:??:i?:???i?.,
..
-::,
_2,....
..
?.?...:
:..
.1
...
?6!%
,.?..?!:?
M
IX
..
R,:R,.M
.,,S*R
....
..
e..'IN
,!
.....'. ::?:D?:
.?'..
....
K
:
.
....
%
:Kmf
..
.....
..
..
:?
,_
::,2%
;M
I.Nil
IOA.::
is
.'"
7
?q,
?.
.%:
-
.' ,
h
?-q: 10
a
low
... ....
TI
I
i
.,?;
,*
X:?., :
,_
:,_.
?.m
?:,
,"o
,I . I I I . . .: . . 1. . . . . I -. ,. _ .- .," 0 . .- .: . . ?: ?1 ig- " ., ? . . . ' . .- -. ,.1W
X?!;
M.'
-.,
.
I
'.
-,
-
.,
.: ?
i:?%
i
".
? m
A_
I
,.
Fig. I3. Detail of figure 12.
n
?
1!
?
:?
.
??::X. I....
,?
.:..-?
::o
.?:
, I " .I? ? ?I
.....
......
?.;,.,.:,::?:,?..%.
.....
....
....
.1
-:-.
:..-I..:.
?:
. ,.,
II
-6;.
....,
...
%.:
?I I
....
_W
.:..
.5.1.?
:5.?
`?,
?
? = .5W .% ., v;:?. . ? : , . ? I ? I .
. . . '. -,
?
,
?
,
?
. i?.? :,?,; .? i!.?, '.,?:?:., ?,
..
-.
"Ll- igO ".
,?
i EI MIFQ?
I-4 - ?:%- ..-X
?..1?
:?:?
?..:-':?,?:.,?:
,.._,?::"
,
.. .. . i.r?
P .e
.,
.... -.?...,.,?
.....
14
.
?
1:k?
?
x",
.
'?
.i?
M
. . . . I.
w
m:?,.?, . .??Mmm
.
.
.,
Fig. I4. Yan Wengui, attributed to,
Towersand Pavilionsby Mountains
and Streams.Northern Song
-IX.
period, ca. A.D.IOoo.
Hanging scroll, ink on silk,
Io3.9 x 47.7 crn.
The National PalaceMuseum,
Taiwan, Republic of China.
R
. .. ...
x
. ......
.........
....
.....
....
.?.51
X.m.
W.
On.
1.
-x:l
...........
no
X
a
...................
..............
w
::
.........
... .
....
....
l.....
or
...
....
...........
.?X.
:n,
......
...
..N
So:
'X:.i:,:
RM
I,''m
m 'r
IM
o":'x
WWI
'nrx...
rd
.
.
M
E:
..
......
......
....
X?
...
..........
1.
1.
IX
......
...
..
V
-A
I:j?:.
An
TI.....
...
...
IN
so _n:1
X?
n?.
......
..
....
W..
........
..........
... ....
...
;V
Ar
.....
I .....
g.olm.
"NAAS
R
...
:......
:..n.
l......
PIMA
Ai
Al.
V 1 ...
.....
.........
.........
....
..::1.
.....
.6...........
...........
....
.
...
.
Wo
q.
A:k.
X.
.......-A
.......
.....
....
.0:6
........
X.AM
m.,*:
n 'K
....
....
.
...
.........
INR?
n
T.M
.............
.....
?"e ......
...
.........
........
.......
...
...
..
.....
'z.
....
.....
...
. .......
...
-X.
.........
Is.
.....
.
..
.
.
...
.
..
.........
...
.. ...-s'
....
.....
..X.
......
....
...
......
..........
-gOX. m
%n
M
.N
.....
on.
'J e......
.......
...v:*
sn'.
.........
.....
....
.......
.... .......
:Ms.X.:
.........
...
......
..... ......
.. ...
.......
...
........
.......
......
...........
......
....
......... v
-VAs
X."
M:x.
.........
...
......
......
...
........
.......
V ?yl
?
??,.,l..."
.,?...111..?,4k?-?,....?.e;..,?,.
7f,
???
.lt?
?".
,..
-L?..?
.,,?
,:?.::?,,.,.,
I-S.
,lv?.Il
?A
? .",
S,??
,V,
,::,???,,:,?
. 11I,"1:.-.-?
.II,?,, M,-:15.,.-??,,,?-??.........
,:?
, .,.,."-..-N?
?,- , ,.. ..?,?,,A?
. ,",
,??,-,
, .?-.m
N-I:
i.??,;
?v,....",
",.?
.?
IRMF
.,,?
..,?
,?:::,
,I
?.?
?,:5
.....
-I1:
I..
.I?.-.
?-11??.?,,I
?,?,?,,-,
11
,.?-::?-:?
-??---.:?
?1.
I,
.I..
.1
..
,.??-,
,...
.,..,?
..
...
..??.-.
,,,
,
,?d
,.,.
..?,...
A
i?
X,
-,,.::;A
.
....
...
... ...
.
..
I
.,
,
''I
g-,, . .W
m
?,..,.
.,?
,.a??,
.?g:??
?.,...:
-..,??..?,
,.?`
..1
??,
.1
I....
wl&?,
I--. . I,11.1
::
?.4
I.1
sm
..........
........
.....
:.-:
:1
.IR?*?
j.] -..,
ux?x
a ?:
?,:?.
N
o-,?
.'m
11.1
,
......
?.4
-,,-.
0
./
a11.??:??x.
-,
??
.-,-,-.,I .11.M
V!!W
?T?*
O...
...4?
,??,
-,,?: K...'.
I,?.%.-.-..?.,..:,?
,".1.
?,
"1:
?,
??,X?
a n
?,,::??r,?,&:?
?
??
?
-i .m
I
!
W
,
O
w
...WM,-.,,
?,?:?:
.
?
.,?,?j?
.
???
.F.
2II.I....-,:.w
R?,-.....
1.
w
I
NO
I,
.
I
O
,
.
,,I.,..l,--.,
FNU.?Im
.
......,
.
.
?.,.....
.
?!?:
WM.
I?:-42C.
?.1
-...
=1 ::,r,
?:.
I
I,
..I
,:...
I".
X:??,.:?
V
,,,,?:?
.,3...:,?.?:,?.t:.?
.?..
M
,...?;
.M
.....
;.?
...-.,.XI..
....ow
??,?....
l'M,??,A.
"".
<?.
:X?
??W
M??-,??,,::?
Q?,,:
::?-....
V....,-...,
.....
q. I I
.:,::?..:l..?:::.?.::.
.X
,',.- 11,11M
:::
:-`
,
.?:
,x:r,;X;,
.k
I.-?_:.
M
...I
, ..
,,-??.
--......
??
?,-??
IIll......
0?W11.
??
1:1
?1,
??.:.,
,M
....:?:?..?::?:j
.?,:?,
,...II, .,,H-*?,g?,
AM&,::.lS
...'111,1.,
Ilmlllll,?
:??!:??,,?
Oi,_,?,??,:?,??,
49. oe.m....
,...,;
. . ,?
.
.... vl..... '.
......
..??::.,,,?g?i?.,,:
,?::*,:::..,?.Ai
..?P
?.
?.11
-?:
,.,-?
.I . II II I .,.....
--.,
......l.
:.:X,:,.:,:??
...
1.
??,:
?,,
??-:
I
v .-.?,?:?*:??
.,
,,,,--...
.,.::.?:::::?.,
?!:,X.l
.
I...
..
.9
V
.1.
11":::
.
I
M
?
'.
??::?.
.
.311,
.
-??:,?.:-,,-:,?.
1
.
?
?:,-:?e:x:,43V,?
M'.
.
,-.,,?Inx?
-I.N.. -.1--%
.
VA*,?,.
-,-,,.-., ..-- -.1,kff:,:??]X,
-1.....
........
....4
?z,
....,
?W
I
?I,.-.?,,
..e....
..?W
??,
I'll,
,?
?;,??
L , I,:: ?
.......
...
.........
-40
.1
.i.......
,,?
. .....
.......
................,,?:?.:
,...
.::
....
",.,:?:>??:o?,
??k??
??
...
. .:
?:?.
1.
. ..-.:5?:..:.
-:5.10
::,:::..
xm:me
:........
...
??-,
.1W.x....:
I.,,,,:.
.:.:,,.
IN
.:?.;:?
:,*-,-X:XX?:?,:?,?:
.
.M
-.....
;.,.
-1-1-1%
...
....
t,).,
,
...
1-1
::?:
,??.
,
:?.:.,?
I
??,??
..-A
::s
.
.
.
.::??:.
...
?
.:
le,
I
?:XQ....?,?*?_
?.!??,ffi?
n.
?,.
.?
:::.??.?..::..
?:??:?,
'115,
.....
,
:.:.SX,.:Y.?
%.:::
:f?::n::n
..
.::.A..:-:
II
.
.
.A
I
..
..
..
.,
I
..
......,
....
11.1
.?
,
....
?
....,
s
...
,::
.:..
.
:.
R
?
I
...
U
.
I
I
I
I
.
I
V..
.
..?.M
.
..
..
X.:
I
10
11
:
I..
;l.,
%:X ..
?e?-,??
..?,
....,
.,.
-.."
?N?.::?:S?:,
...
?....
.?Xo?
?:?.::
..-........
4:?....
.:. ? I
:?:?,:::
.?-.:,
,-::
...
:e
.....
...
I.: I I-,. - ,.,...,.???'.::.-,??,.??::........
........?......:??.,..
....
..:?..,.-.--.-.,
?:.?......
,?.:
?:,,.,??,,j
-....,
'...
,...M
.:?Xs?*:.
?3:q
-::....
......
,,,?.,..
.,.., I
.:.??
A,:M
.-.,.I.,
...-,
_vm
-1,?:-.--l-..........
...:
.0.
....
:.::.?.:.::?
?m
"
:?:..:.
..C
.?....
e
?,?
-.?,?
...
....
-"...
"..,,V?,
,4.......
?i.m.,
M
,?,.:..
?.1.1...,-.?..--?
,?x
....
?
,:...
..?-,.
,:
Ills.
,,!.
?.:?.,N
.W
,
1.
,:..
.
I
...
,.:??:;:?,
.1
...
1.
.
I
?,??.,
I
?
..
,
IR.
.
...e::,???
?:?.
:N
?::?r.
?
..
.
?
.
..:..?
V
I ...
I:,,?j?:,?
....
,-.1.1.:-..-::.:
.....
.
:....
::..:
"11
..??
?XX
".....l.
..:.-.-.....
,o` .?..
..:.,.:::?::?.
. ,--.11
?e??z.??i?
...:..
I.o:..
. .??.
m?.....,.,,....:
.- .1
.?:&....
-.....
.-?,
..,'......
....??,.A
:n
W,..?
,:...
.::
,.:.
I. ..-:....*??V
%
x:.:
...
"JIBI
...,
.......
I.........,
I...--.......:?:??:?:,
..,:?.
4...
:...eI.........
.:::
..,. .:el
,O??
-.l.
I.:.?.
.--.:
..;.;,?::??.-...
:..1
,....:.:.,
.....
,.?:?X?.:.......
...
..:,?...
: ..
.?-:x??..,,:??,.:?::
..??
:.,.::.:
.........
-.1
?vQ?
.?.
....
...:n:
::,?M:?
?,,
..:.
...
...
.....
?::i?i,,,
,..,
??:;?::,
??,
. 5.:-:....
,.:...
.....:,
,T?.:.??
.....
....
.1.1
....
. .1
..1411.1,
-x
.?
....
ae??
..:
-......
,.,,,?
......
.1.
...
...
:m?.?:m?
.I ??::x-.:.::11:1-.
.-...
?:::,
,?,
...
..?.
.,?e
..?.?.:z
?::..l.,
?,.:..
I....?:..?..
...
...
.v:
,::,.:?,V:
...,,.?XxK..
4?::::?:,
-1.
,.:?.:
.......
.,.:.;.,.
..,::.,?.:??.
?.,?,
.
?z.
-.1,
?,..-A
,?:::::x:.?
..
..
....
.
e,!
?
.
....
..
.
?
....
---?.:??
1,
.
,
.
.....
.
.
....
1.11
??,.
.
I
.
.....:......,
?;,
,,:,:?
::
.
..
:-b.:..,ll:--4
*"
...
...-........l.
:
:.:
I
?
?
:,
.
.
II.I
.
:,.
1,
:
.
.
....
...
.........
..........-;..,
.
-,
.W..?,
:?W.?
11.
.
-I.."..
....
...
,:.q...:,::
`
.
..?.?
?
.1,...,
?.
,?
??
e
...
-',
::??:.::,
1.5?1:?:W
...
:
......
.
.
...:
?'.
?.
,
.,
...,.:.::..
X..
,
.
..
...
r5?:.?z.:::i
,
-.1
.
.5..
X::
::-::?.O
::
x
?
.
I
.?.
,:?.:..?.
.
:::
.:,.
1%.
".
-,
?
....
..
.
....
.....
....
.......
.
?:?.;,.:?X.?
V.................
I...
.1
.
.
.,
.
...
.
.
.::.,..?Il
"
.
....
:11.1
....
?..
.
.........
??..?-Z,
.
.
?.?
??:??
-,-..,.,?W
I
:
......
.1
...
O.....'...M
.
....
?
,?.P,?:
?:
.1
.9
.
,
I
.
.
M
?..
..:
"
...
..
.
.:;:....
x
,::
,,?
.,?
?.:..
,.?...,.
M,
'.
I-K
,.
,
.1....
-.
....
.
?
.?..,....
...
:.:...::?.
..
?-m,:.-,
,
...?-*:?,.
:
.?
..
??
.
,
I
,.:
"
..
.
?
:::
,.
11
,
,:,?:..,,
-?,%%:::,::
.:?.,?,?.;.::..?:.::.:m::-l.
, ..::
.. ,.::.?
?:?..??:?.?:ffio?.,.K??.:,;.,,::.
.-:.:.l.
.....-1
. ...
.:,.:?
..??.4?,::
::::x:,6
Z??
::.:z.
?.:: M.
..,.?..::?.:??:,
....:....?.:..
...::?:...
?i?.
..::?
.,...
. .,??,.1418??
.......
%.. . . ,:I..?,
M,
v::J??:.?,
X:
v:.,5
.'i"
.::.
:!::::
... I,
:?
?3
M
?,x
..,.?:?,.?,?i?
?1.
-..,....
,,??.??7
?Ck,,
........
--....
..::,:?
.xl
%-4.?
:??:.,??*?X
...
..?.::.N:1:11?.
I ,..'.,s:?l.:W
....
?off.:.:::?.:.,::?
:..
??..
...:i:
??
"O
..:j.:??
.9...:%
,:.I.."
-.??:..
,:?,..?
..?.?....n...
?v::-Z?,,.::?.?::?,:-::?,?
.:?....
..-.i
-. ,::?
.:?......
:.:."
?.....?:
X..
?::?:?.W
v??
ce...
?x?.-:?:?.-:
,........,
-?. .,
::
..1
.?M
??-:??.W
:.I:?-,
.,......
...,..
,!:.
........
":..?
....
-.......
....
I. ? ? ..4
.:
.............?.
...................-...
....,
.:?::,,:?,.
...
..?.::
-.:,:,.
I ? .,.,??
,?::
-,..
,:,:%.
?!:
-...:l::l.::l?.:3:.
.-..:,
...
-::`:`:%.::o
,.
...ql.?..R
-:::
A
-.l..
?
.
..
IM
.1
.,,?:?
",
?
X.I.,%.
.
....
.
..
A
......,.?.,,g
-?
....,.
i5
?...
?
.
I
..
-:....s
...UZ
::r,
.?,
?..,
.
.. ...
?.??.?.M,
?.
,
Ifn
..::..
0
:.
.
?
?::
..?..?
?
?.
X?
.?.
?x??
.:.
..
.
.
..
M
:,
?..
?
?,
?.
,.
.
,
?.m.,
.,g
,
-?X.
:?,,
?.:
?
..
.I
.:
x
2-?
I
,
...:..
...
e
I
-,
.
,
.
I
I
..:*.
x
-:X
-:...
1.I .::.......:
...........
.m
?:,.
I'...
?...??.:
k?
....?:.::::
R
?.,..?
.-I
- .1.?6/
I11...,.:
::e-M
I:I ?:,
F
.?.*.,j:
IN:?
?i?M?:?
a.::"......,?,-.
;g ,I.I.W.
...-.-.
.61
....:.:,:
,.:.......I",
.?,,?:??,,,,,?
,fi?.?
:,...,-N
.?:
?.
:....
:..,
-W
".
,??M
,..:.
?:?.
.
"...::::?X
, . .e..,,
??.,
.1.1:1
i.,?,?
?
.
..,.::...
I ?.I
X..,...?,,.
??%::
6
..
NIX.
.......'...
M=
??,..
-:'I.,
.
?r
.
.
.
?,..
.,
.,
.r...?z
..X:..,.x,?
??
I
:.
..
I
??...
:,?:...
,
.
....
...
.....
...
..
...
..
..
....
.
.
.
.
-,-:.
:%?N??
:
Sf
..??m:Y?Yo:
..
..
?., 1.,?
:.
. ....I-.::..".Vl
..?i.
:.l:..:::..::..::.
1.
...
*.. .-....?M
..1-1-:..,;?.
..:::;?i?i?i.
...... ..- ,,.?
III -?,?:?
.......
...
??,.
,
.?X?.,!Q--*?m.,..
..::?
..,??.,..::..
,?x
1.
.
.
"..
...
...
..
...,?...
...
,
:.
.
?,
I
.
I
.
M
S
...
??.:??
,
.
I
I
.
.
..
..
6:?:,
.
.
's
mm
.
..
?
.:.:,
,?
.
..?.:.:....,U.
.?
...1,...??
...
....
....::.:
&k
.:?
...
.1
...".
?-?.-4.?
............
,:m......I.:,::
??-????-....
.?.,,.,
I I, M
n.ma
...
,-?-?:?e-.--....---?--....
e.?,...
i,.,:
Z "_8?
??S
..:.l.......::.:
-x
-......
?,,.
,? NW.
?,
..,
?......
,."
-,?,:
,x?l
...
.-....
.
IM
IvI !-.1
1.
I-.........
? ?:,?,
?.r,e.,?
...
IM
il......
....
".?..
,?,
......,
.-?-k:
::...:::.?
...
Y?I??I I .ck...,
:?-..
, ..-,.
. :?%:.,??.?
I-.V,
1P
-*?1.. ll??
...
I::
.., ??4
.?
O?
.
....
.
....
em
.:?.:......?
??
.....
. ?NV
11?1<441.-.V.:;:;?:..?.-.
,
.
I
I
?..,::
vm?..,,
-.:*e.??.,....
.:,X.4-,?.
I
?.
-.
I
?:.
.::
...X::::.x.?
?,
.
m
s
X,
,
.
?
.?
?
I:
.
.
,
.
...l.
?
.?
?
,..:??
...
?.A
.??.
...
?
...
I
??:?,?
?
.
...
..
....
.
"
.
-..-..::,,.....-........
::.
f..X?.,
w
.,
:
I
?
?
.
I
...
..
.
.
...1?1
......
.:.
,
,-./
.1
.:....:?.
X::.
,
..
I
......
.
I
?
11
1.?
.
I
.:?
...
..
::,:t
?.
- - I?II,M
,?
..x
.,1?1
I
I
.
.
.
..
?
??
I'm
.:
.
?
,?:
,..
.
I
..
I
?4
.
.
,kX?.,
.1
.
.
.
,:
...
..-,. -?
:
um
.
I
"
,.
,
?,
..
.
".
I,...
Qx..X?
. ...,::-::c
.?,
,??
.. . -.--.. A.
11.
.I I
I I ??...,.,.
K..:.?
?Ix,:...
%-.1-1.
?.:?.
.
....
...
B
..?
I.
.
.? ?%.- ,. ? ,....
"
InI-?.
.,...
,111
,....
Ill.,..-.A.
-;?,:
M
....
.M.
..W
.,. ?, ,?,,,,,,K.,,,:::,.
,V
.:R
.,-,N,
...
...,,!N,
.
Eil.:i
??
-??
?,W
..
ff,?,.Mp,
1 ?.I--I.. ,.".,
??
..
...
?,.?,
`nbl
.
. .1.
.
-,
X,?.
., .
.
..
I
I
?-.
.?M,mv
.I?,r
gg
g ,?,....
??,:,
I
?
_
?
.m.
Zi:Q?:??:?,?,??
I
??*?,?,
?,%
I
.
..
11
a
.-......l.,.
.1I...,
.. ...l.
,X?*,,.,:..,
- .I
-.,:-?11?;U
"n,"
??,:.
?.
'a
...
???..
?4 . -m
?
-....
:. .-?
.
..-."
?:
.
,
...
W?
.1?
I
,
......
I
.
.
Iw,,:,:.,??:,?
??
W..
e?.
I
I
?.
..
,
,
.,
W
? . I e. . . . .
:?.,::?;:?..
'.
........
1-..:-W
:..
.
??
v...
=
M
....I.
..?
..,.
,
ig...
. ..V
.. I I ?::?:,:::?,,.'.
.."?.,
.?
1
:
., -X?-.
-.,
'.
.
-
?.
SR
.73-Irm.
px
AM,
2im
0?
W?1
,?
-.W:13
?
,
,?
"I
??,ma?a. ,?,?????,?. ??.,?,i?:.????,,?:,
21
!p:
I
?
80:
a
145?
a
1. ?1.
.WR:o1M
",
:.1
?,.
SMl .,Rl,?.,:M
On':
,'....,
:::?:?
,.,?:M
?I . k,
M,??,?,
-M.
N.,.
??..?,?...,??.,
.:;,
.I...."
....
-1_
I.."
-.:,-,,,::
?Z -I??I -I I. I I - I I 1. ?::i??
1.1,
.
.
.
,
.
,:!?--,,:?:!?
w11
-::::Il
?i?m:x?L
,?,,?:,,.?
. . . - .1- I
I. ..-.... .. . ? .,
. . ?M
. r,::::
- . :::,:..-;;
- . . ..:NiV
.
,?-, . ...
:?
,.::
,:N
?g
,
,,i:,?!?]
-?:
,
w
.
.
.
I
,..
1
?,--I....
..-:.:r?:vX?.:
ll?
7.1.:,,
: ...?,.-?.!?!??,,??:!??.::.??ff.:?,?.
...
?,
b--?,?,
...............I........
.,.-....
.1.
,-.--.-.--,.
",
'I.I.W
..
I ,..!,,?!:!,
.1,
I
.
M
.
.
.
.'.."
.4
I
I
?-,
?M-M
,:.:.
M
*.:...
.??
,---....,???
?..
1.
.
:
....:...
...
.
.
?
.....
..
.
I
?
s?::,,:.?,..,::.1?
...:
?:::-- ..-.
,,,.I???.
.. O.. ...-K.:
? .. ....-.-. ......
.,....
-- ?.< .,., .
,?:i_
1 1, "A
?.??
-. I .....?mm
,. ??k
-,1.I.A
.........
?,.....,,:
?:.......
. .M.:
:1
".....:::%?::
.......
...
?I
,
,::,
,
.
.1?:?.
.....:.:::T?y,:
I
mu
,?.
..:..?l:....:.....:?:..,.:..?.::,,.::?::*
.
I
....
.,:.
-::.
1.
.,
?...
,
:,:-----..N?.:vl
f,?,..,
I.M
?
-.?..
.......:-:1.......?,..l.?..
...
.
??
...
,,,,::.4?
??
1??Q
.?,?..,:...:
..
.??.::..
?
:
..
..
.
?
:,
x
.
.
,?.?
,-...
: .ri..
-,.!?
,- II1,?:..
W
:%:.,.
...
?:.:,.:.l.::l
%
f....X.-,
.-I...,111......:
....
,...
_?,z7.
..,
., ?.
..1.,:..........
....
0.0M?:--.??
...
.,K.::?Il
-r..;:.I.,
.....
.......
...:
....
!?
...
--.x.
a.. -.1
e,
.-..
4?..P!?%
....
...
...,:..
kwl.
t.q
.:I..
.:,:
I?I :ll:.?Xlm
.
I..............-m:.
....."k
.
,A...".M
m
?
.....
.
.:....
.
.
.
.
.
..
,.,
'.
.......
..
...
........
.
..
...
..
....
.
.
?11,
.
.
111.
.
,?.?...
-...
.1
,::
.%:..::M
.
*.::.
?
..
I
I l..-,.,-e:..,,.
, ?:.
?M?
:?.:,*.;.:..:.:
I?-...
-1.
-??.
?,,?,.,
.. --...
-.:.?.,...S.X..:.
W
- J.?..,,V
.,?.:,,,?.
0101
w
- .I -...A
?M
. a-, . ..,.-F-
.l I . ,
?T?:T
?:
?fi? `M
:
.
,-.
-,.W
?,
M
;?-%
.05
1.
.l
:,.
-!?.fl
I.
? ,.
,gi
,
A.?m
.: ?
I
N
.
-?io
i
'o"
?!
I
?.,
.,r
...
?O
lv.W?:%^?
-M
:
I
a
M
gm
.-M,
. . .: . . . _
:. ?:.
k
Kn:
,.: .
AmNMI?_1
I
Wk-?
il,
.
MCI
4,Q
If
_- .
. . 4% . 1
,RA
. ... .
,
I
,.? W
I.
l.
41:?.?.: ?-
.
.
.
W
.
.:,
,x.
,?
.
.
...
. :.l .,
:.l
.
,.M
?,&
x
,.-?
ow.".-
V?
?W.
.1
.*:-
.?.
-.........
.,-...j
,..1%
-?
--.,..,.,
?I1,
....
.-;,?;,
I?... ,.?_
?::-,
:f
-.
..::..:??::?:?
.?,v
I ? . ..- . . ?I. ?I. .I I .?I .....
f..,......??K.....::.
..,
,?f
-..
........
....1:
....:?
:.1:4.
:. -?..1%
..0:-x:::.,.
?.
:,::
:?....
.,-.......
.::".
..,.
01.
g.?.I, ,. I.II I .....
,....,:::4?
.?
?,
:....:K.??
?,.,:,,??,?
...
1:
I . IN
.:.,
?x
...
.....
1,
?.?X....-.:
.?
..?;
."
-1
.......
:1-......-.......
,?
??
?,-......??....?.::?:51
6%..
1?:
I.I...
-?.::
.:
.- .0
:..:.,-Zk?
.:.Al.
?.
??r?
....
I.:::
.,%..V,
......
.:"...........
R
I.1
.
?,.
:.<.:?Ml.
I
.
:A'
m
I?. I. ..-?..
.,..
.
.l.
.
I
?
:
:
?
I
,
.
.
:::?:?
1,
..
....
N
....
..
?.:
?
??...,......
?...
....
?N
...
..
?
?..:ffl
ft.
....
..?%%311...:?::.::.?Z?::..:
.??
..,
I
..?
....
.
...
......
.:
...
..
..
1?9:1:::
I
.
,
.
..
....
?:?
?
??
,...
.
:
-,-.
11
..
....
e?:
?
?
1?
1.
...
:.Mle
?,?x?
?
?5??.e?::-:?x?:,x:?:e,?.
..
,::?.?:?,?..?,?X::-.
?
.
--......
.
?
.
...
:
.
I
?.??
I
.
..
.-.-..
.:
I
,..
:.
.......
I
?
.
.:.
?
?
?.:.,...
.
I
..:.
..
,..::1.
-11,
I
:
1,
.
.1
I"
.
:
!-,??
:
.
:
..
.:-.,:.,
?,......:.:
?4:.::
.
.
:.:
.
??.??
............1.
.??,-.:..
,
?
?.
.......
..
?
...
....
....
?,.I-.1
.,??
...:..............
-::.:..
.....
j..:.
-_,?.?,
:..?::?
-. .I?..
,...
-..1
.,le,
..e..
'.F
::-?:-:?
-:,.
?I
....
.?.?.
..??
... I -1, I . II- 11
.I-::,?
...
.
...?,?.o
I..,? -,,- I ,?. I ?? ::...
.......
......
:.
:.:.
...
?:.???
::.........
.1.
...
,. ?i,?,
W
MMM
tN
M.
x-A
.U.
.........
.U.H_
Xx .,
X.
I
R
uo
w. . .A so F.
. .. .. v M
Vo
"v.
!w
41
?W
M.
:A
:X%
'I.,&Z
_01.?
w.
'j
Z
a
va
Av
r2w
4.
IN'.1
ON
?n
?;X
1,
EAWOMII'M"
?
At
?,M
1
0
140M
.4!x?
W:Mm.
A
E
g
i
m
g
5
57
_3
61MEN
.
a.
PA.
W,
tN
.
Monol,
.0
x 11
.........
.
M.
. . . 1'W.
5,
X.
i
WN
....
x
x-
A
gp
RM
gr
Fig. 15. Guan Tong, attributed to, Travelersat theMountain
Pass.Northern Song period, ca. A.D.Iooo-Io25.
Hanging scroll, ink and colors on silk, I44.4 x 56.8 cm.
The National PalaceMuseum, Taiwan, Republic of
Fig. 16. Juran, attributed to, Xiao Yi Steals the Lanting Preface.
Northern Song period, ca. A.D. 975-IOOO.
Hanging scroll, ink and colors on silk, I44.I x 59.6 cm.
The National Palace Museum, Taiwan, Republic of
China.
Man
:xx
MvXes
.....
.....
.............
Mal
M-1 ......
........
. .....
mel.
OX:?
m
RJR
........
....
,q
.
.. . .
. WX
. .. ..
. . . . . .. .
ig!
. . .. .
. . Aft . . . .
.... .
..
. . .. ..
...............
n.
MO
NO.
W
.
.
.M
M
A
.
.
xl:
W.,
........
....
Ems
g
N,
...
a ?: ?m
. . .. .
.
.
.. .
M.
. .. .
...
.. . . . .
..
...
. . . . . . ..........
.
.
....
........
.....
........
-W
RNM,
WAR,
.....
...
..::.N.A......,
..................
.P..........
.. ...................
.
..
A?
.
.
.
. ? Px
'g
.
V7
'm
...
g
.
U
Caw
GO
',?M
.
.
.
.
I
V
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
, ...
'. - ., . . . . . . . .
...
MOM.
Ml
IRM:?
.
ON
.
.
.
ig .
gp
Q.
m
om
.
?m
RM,
ixa
W.
.
.
ol.
I
'o,14
:
RM
m
M.
-4m
..
IN
:?
. ........
.......
.
WM';
T
.0-,
Al
MaN
a
VM;?
R
Z
-M,?
MON.".
Fig. I7. Xu Daoning, attributed to, Songof the Fishermen.Northern Song period, ca. A.D.Ioo50.Detail of a handscroll, ink and
light colors on silk, 48.9 x 20o9.6 cm. The Nelson-Atkins
Trust) 33-1559.
Museum of Art, Kansas City, Missouri (purchase: Nelson
iiiilil
iiii;:I:::
iiii
I:?:ar:liii
::- --............
.....
:i:•ii
NorthernSongperiod,ca.A.D.10o50.
Handscroll,ink
Fig. 18. Xu Daoning,attributedto, SolitaryTemple
byAutumnMountains.
on silk, 38.3 x I47.5 cm. Fujii Yurinkan, Kyoto.
.:_
iii~i~iii-i
~~i':•i
iii~
-.
•ii?
: - : -: -: i!
• :ii-iiiii-!•
i-i~i•i~iii
.
i:i!
"i
-
:
?
'
...
:
- ...
--: :: ::
'::
.......ii i-
::i i i -
l :i
ii'iiii~i i i i
?:
• i i ii i iii
i i i ii i i:i [
i~ •i ...
:
•i :ii•::::!ill•dl8~~8il~i~iii8iii~iiiiiilii•B~iiii!iL~iii3i~iii
•i
•:iii•iiiiUii••iiiiiiil
aiiii
~ii'~:i~i:iii
,::
i~ i i
?•iiiiiiiii
iiiiiiii
iiiiiii
iiiiiiiiiiiiiiiiiiiiii
iiiiiii
.. :
.. _i
........
..
........................
, ...••::•;
i.•:.•:,,•
,::•,
"••iiii-iii•:i:::
ii
- i: . i i-i : .- lli- - I .
~:
~~~
f~;
..iEi
::_i•i.. er.i
ot??
?
~ .~ ?~r -~f
:??
i~
ii:
ii:
iii
-iii:ii
!
-iiliiiiiiiiii•.-ili.
i~iirii~ii~i
i-i:•.
_:
:_:
-:::
-i
:. .
-i-:
i:i- i. I:-:- i i:i -- '
-' ii--ii-:-:
:ii-i:i-
:---
~-ii~i
i-iiii-i
-~iii
-ii-
i-i
i--i-
-i-i::
i_-:
i_ i
ii-i
....iii-~i
i- :
i si-:.-.
ii?:::
:
:::
-::::ii:
-..::-:
::.:.
i..:::
i!•i:
i ! i • •i• !•
!•:
!:!
!:
!i~
i- ~i-
:
-
i -:
-:'
•-i •ii
!i•l
i-:i!iii
i•ii••!!i-:i:!!!
!•i!-ii::ii:
:-
i:!
:-i~~!
-ili!!ii::
-ii-i
i:
i
i
,
i
ii iiiiiiiii
iiiiiiiiiiiiiii
:':
i•iii~i~i~iii
•-:
ii-iii-ji -' ii•ii: .iiiiiiiii ii
:j_
:
iiiii•i:iii
i~iiiiiiii~iiii~
!•!
-iiiii
iiliiii •::•i •,i.• ]]i )i .
•::iI:- i-iiiiiiiiii-iiiii--iiii~ii-i
iiii~iiiiii-i~,
•i-i:i'i'
:',
i
::!i
ii:ili'i![!ii
_i-i:iiiii
:
.•
!
f
--i.i
i "••'•
•"• ii?'
• '-• •ii!iiiii• @iiiii~
!i
!i!!•
ii•!iiiiiii!!~i!iiiiiiiiiii•
i
:•
• ::•:
::i:•
.••.•:`::•:•::•
. :•:.•
i.•:: :•.•:•.:..:•::.:::•
ii: ii::iiiiiiiii:
•!!iii
{i•
iiii!iii
iiiiii:
..
i
ii
Ji-:_
,. i.
~~~
iii:i•,••
...!:•!•.!••
•iiriiii!..:
. . . . . .-.
•
~
....•••il:s
~
~
.l
~
~
liiiii
iii•i
.•.
I
Mountains.
NorthernSongperiod,ca.A.D. Io25-o50.Handscroll,ink andlight colors
Fig. I9. Qu Ding, attributedto, Summer
x
The
Museum
of Art, New York,Gift of Dillon Fund,1973.
cm.
115.2
Metropolitan
on silk, 45.3
"' X??o:?!
,?-,:x
?..RN
K?
.E.,
alle
"....r.
- ,' ...............
. ???::...:-?9
P:?:
.--Av
W.!?
7
.q1 ;5- 1 W1.:?. .1
i
l??:?itilitp!41
.
.::1::X??Z
. . I M'...1.
I
..,-o
,
.
:
?
,
?????
I
::?,:..
?:?:
:
.1
r
................
I
?...
?
.
?
:
g
i
?.?,?L
?.?
.
L
?,.:??
?:egii::::: p
:!?W
. ?J'. :, .,_.- ? , zso"3
5?,q,.?
.,j:
...?,-,
, .!???.,:?i.'
I101. :I',
?-..??i
.,."?,
,",
?.
??Li,
??,,
"Y
:11??.?,.
,",L.,?,L
L
?,,",_,,?i!???,?
-??
.. ??
.L?,.::L..,
_ . .?,.F :?...03..'?2.1
.?gs*:?,'.........
.?L:
':'i?:'..
.....
..0---mI_......
I?
....?
.?.??i?
I,,
IN fI
,X
I
! i"111
i?:.
i::?:...:
..:..
.. :::.::::
.H
...
..,.:.
IS
je.,.?
.5?.?
so
-L
, , ??
,:::?,?,?:i.?.?i,?!?
:::L??.?.
1L
?,.?,?i?i?
g,?,?:i.?.?i,?
?,?i?i?
L.L
.
'.
x
'.r,
-w
:,L,
,:.
:.:LL".?:X
:
,
-M
,.:g??:!:
1?,1;
ll.,
..
a
...?.,
'..
p
.
w
.
.
U
I
.
..
...
...'...
.
S.
ii:
?
.
.?.?,
?!!!!.
.
.
?:?
:
?
.
'
.
I
1
.
.
.??,.,
.
,
?,.m
?
XU
g
?".*
'.::..
I,
ffi
R
??',
..-..,..::..
:
q
.
0
?
?
M
,
1w
R
I
1W....,
:::.
?
w
.?
.
?'!
.11.
?..:
.1
,
,i::?.
::.
??
5
.
..h.2
.??%?i,.J?
jE
,
I,1,I
.
.?.??...
il: .
- 5:?:
...:
...
::x*0
1, :. lilt...,:.
, .?.?:::?
:.?..My!1..?AM.?,
??,
?M
..1.0.?...
?.,?j?
::.::
:.lj??.
?....,..s??:.
...,_.llff
.. " !?
.
.
.m
F..?,I..r
.I -BE
.j?
....?
.,.e'..:.,.
....
'..?..?
I.......
..,
:'
a?:
.?
...........
...
IMw-Q-=_:
?
L
,.,..I
.
?
'...
41
-.0
9
03
b ,_
?
.
1
?
.
e
-t...,...
I
INK
.r?."'.
I
.
.
.
"
-r
...
...
....
...
,
?
?
:?
?
V
I
`?
w
*
m
vh?
.
,
?1
:
8??
.
....g,
.
i?
??L
?:
I?
.1112
??,
.
..
.
..
...,
.g
.,
VE
??
e
.
"?2.'
.,..!?
?
.
I
.
_.
.:
'.
'
....
?,
V:
?.:-'?
i;2.0
?.
.D
.
-,w
,
__
1..:,
.
g
.M
..::.
!
,
...
1
,
,-,
.8
...........,.?....,...?........
&.
...'?"
L
?1
f?:?j!:g?:
.......
1...?
Zj?,.,1I,M.
.?.:.
. ?.
..?:?....,..
._....k.
???
,?,?,,?:::!,5?-!?
..kr.:?.11
_: __w___... ._
!:?:.,,,
:?...,...
?.:!??
.??k??`
.'.'::'?..lo
...I
L ,..-. .?'..?:.M
?is,
w
i?,
P?:?
.-..
1Z?
?::?, ....h.. .M
..i
M
t?'...
n
...
...5?
.. .??Uk
.,?i?!
.R,
::..
?-.41.
4r
'.."
_11
."w
:4
".
wP.
.:ie. ,??.!:
.:i.??
.?
.?.?.?.?,
?s?.
?!
.?
M
.?
I'.
.;
??.,.
...
",
::
...
I lop
!
?...
:...:
?:
... -..:
.::
...
.
..?.x
?
.1
0
.
,
s.
.
v
.
c
...
,
.
:
:
:
?
:rl:
.
'.
15
Y
A
4
.,
"
?
.:8;.,::..
..:,
.:.:....5.,.:..
..
In
W
r
xx:
..
:::::::::::::
ii??
. . :.5,:?
I:::?.?
?:
v.??
...??_?_.?.i ,
.......'=
.............
....z::?
.'...w.
` IL:'.
.., n ..:.;.
". ,.'s-,-Y., g..??..?
. L::,I L 1,I . . ,::.,i:.!:.
i. .:...,...:....
.?u?
?:_
..,
,2.
,...
I?:?p
:?".?:?i??,.??,..i:i??l...........
.10
.....
z,...::r
`I..11
....::iiiiiii
-',
?
?
I
....
..I":
..*
?:
K:?:?
??!
!I ....
?
?.
??:.
5.,
1111??:.
es?
ii.....
@0.!k:,:,:
...
........
A<,
.:?:x
?.".!!!!!!
.,!%.
?.:.::
...
,? ?A.
?
..::
:??i..::xxi.
- ' "L I
.
w
m
?
'...
:
,
..
?:Ik??`...:::,
..?,.?..:.:::,.
._..?..:
W
M
.... : :,
L
11
11
:
I'll,
:?.
.:i?
....
Iv,
7? x %U
?
;1
E
?,.?....?.?..:.:::,
:Fyf,
??.
??.
::
L'
?..:,
, s?
5:!N
.
i'??
1??'?:?_?""W
.....
'-:: L L :?:?
?4 !. ,
X
.
,
:?Y?w " -..i.,...TY
?
:
zr.,?::??
.!...
?`:?
:::...
i?:?_
2
..
.%
:
?
?...
i.:
..
.
...
:?
.........
.
c
.
I
.1:1.
'
-F..?
.
?,?:
.
.
?
".
.
?'.'.?g
::.
..
..
i.??...
1
j
?
.
?::s::x::.?
??jj
.
:?:;'*
.:
-.?
'J'?::?
:??::
I
?.....:..
.
":L
?
I
.
,
??
1
V
.
?
?:.,
I
.
.
.
?
.
..
? _.:
..
,,
*..'..u
'...
. '.
? i?
?,???,?',,?,',??]:?:?i!?::?,?:?'g.i:.
?.
. ??_-.....
..?
.??
M ?:??::,?:.:,
?I
..,
,.M
I
'
L
.
,
,
i
-1 , .? L : , ?1. ?" : - , ,. . . L:
,
,
?
.
.
.
'
r
?
.
'
.
.
?
,
,
,
?
,
,
e
1
.
,
:
.
:
I
,
.
.
.
,
'
.
.
?
"
,
,
?
.
.
.
.
'
.
,
L
1
.
.
.
.
"
L
.
,
.
.
?
?
.
:
?
.
1
?
.
?
.
. ,? .-. I . %- .' . I. i. . . ? .?, , . .? . . ,- .-- % .? , ? .:
- , -_L .
.w
i,?
. :'??.
. ?.
.:L:.?L.? ? ? ?.Li? ??,:: ?? ::?:".' i? :
:?
"
,
?
I
.
?.:
B'C?
'7
1 1
?
. ,_.! ? l?,
??11.
i,I? -1?
-.: ?
!?:. ?_ %,
i
1"F
"
?: ,
!"
:,
?:;Z
r.
'?
?1.
I1.11.1'..
w.1....
?I,I .M
?x
'..?-
.?,
.?,
T? ]A
!:01-cr
,&
1
: ?
:,j
j,?'
1N
1. k
?1
1
??
?
?_
?
!? ?i '.1
-
!?,. ,
`1,?
.'
i
? :.?' .!:
7
?
i, 1,?
_?
;:?
.!,?
I ":
:. .!
i".
.-
i?!,
;
0',
.i
!?:
.
.!
,?.
mx
in
1 1. 1 .1 i .,
.X,
!i?.,
l.k
?
,1
-
.
.
?.
. .
?:
-
, fl!,?i ?.,
!
lie.
4.k,i?' ?
0
?
1?:
?,
,
0
.?y
.I?i
P.
k.x
.:
?.'w
. ,%. ?., .?
r
.g
?.,
"
",
.
?
?Iw
rn-., 'i
.
i ?!;: ?
?
.
,
,?
??
.
?.
. .:
.
?
?%
`1
.?
?-
.
i?
. ".
iyl
:
.-
.,
5
?!.,
.?
?
A
..
?
I
.
. ?!_
.'
.
%,.
:
:
?.4?,. 01.` ?.' :r? `1
.,?: .
?:.
":
?
.? .
.?W
.
.?
?:
.?
.,?
.?
:?
:%
%..11.11
...?.?
.:.
'.
?
.
1"
?:
?!
.?
.?
T.
.I
1?_.,
?
3w ,. :
?
.
. .
I
.
.
_
. . .?i 1 ",,
I
:"I
..?!..??:
?,;
;?
tL
:!
-,
?
?
.:!
?Vl j l., .
"
1?:
?
M
1?,il
.....
:
.- ,?
,_
1?.
1:.
?
:
?.
". g . g.
E !
... .
1 11"i,512p
.?:
.
?'
:1%
?;:......*.,
?
;%
r'.I
.?!? .,? .",.!? ...:
?:::::::::::::
.......
-......
.:?&'.
.,.... - ?::?.
.
.A*4
?.
.....,
.5..
?!:.
::!
?:::?
,.
kmi
?
;
:?. ,?k
.: i ?
ii''??,! ?.',1!. ? ,!. '. ? . "!?.
,..'
?, -! -!
,
.
.. .
rf!.
.?r", ?,. ?1., ,.Ir!E. . l? . .
.?
?,
W
I
.i:
?_E?!
ws,.:&
.
:.
r,
Fig. 20. Detail of figureI9.
..
-,.1 F:? ?,
,?tl, .U!
?
i'.1 1",
6-
?
?
-1[?
?,
. . . ;. . . . 15 , . 1,-I , . , . . .1 _ _ .
M
?
.8
., ?:
?
,.I?
.'I
it ivost;n.
.I . .
....
,::
. :,
.
.14?
A
w
L
610
.1
!.?: I.
l?
4!j?
?
,
10 1.
?
. ?, m . . a .. e " . . .
.
?'
.,?
f?. ?
?12.
I x
I
:.I .1.
- a
N i:??.,:.
.i ?
?,
?%x
?
?
:?
?Z7 :
?
?r:,
,
?
-;
:::::::::::::::::::l.
1 1? 1 ?
"I
-.?:
'1- ,? ?6
?5
f
F
?
il?;:
e
M ?P
.
Y?
'.
V
,i
?.,
ki!`,i?
li
,
"
1
. ?:..J,
.?
I
'.1
_?.NI.
?
p
l
"
?
?
_.
.....
-.1.........,
...
!.??,?;
0 '...
..
11I .w
-:L
2"'? '?,i
w
,-.
,i?
,. ,
?-.!,
il.' ,
?,
:
-?
?.
10
r?...
.gq...? ......
....
..........
...
....,
.?i!?
?4......
...
.....
"...
'..I...11 1
.............
....
.....'
q
0=
sq.:
?
N?::??:::?:::?:.,;i:i?.:?::?,?..?:.
IN
E
fI
's?
..
I IA
-0
'sea
..?..r?.??:,??'..::.?.,.,.,::?:?::::
w il
. . . . . . .. . -
?,'_
11
'1:?
.
"!?
i.'
'. i?
,:
?
pIRRIVOL
en
., -?
?
!?,
,"
?. I
"
:
A
.i
:",
Vi?>.
?:
!?i.
. - . 1 1., ?
::??
.j:X,?..
N:A:?:?..
.?
-. .
.,
.
."
.
?
?
?.,
?!
. ?
.:!
. 1, .? i? .?:
?il
?
?r
.141 1
"
I
40
"'
'!
,?
i?,
",
1'?.,
I
,eY.=Hq
I
lie-? ,V
.!?i, .'? A
?i
':
?
..
,Isl I =1 T1.3
1?
...
,.
- 1 1
i l
o
A
f
.i?.`si!. :?
3
e_,.
l"a->?1-I_,_?',"rm
.....
,?&,.:
.,
,:.,
-v..:...X--
I
:L
':
I
71
of
l"I
?"!A
k
?
15. 1, -
1, !?
. . .?, . !?
W
'-A.
1
1,
"
l,'
:?
.L': ?
'.I, .? _
i.
?k
,?
?
?g, ,
:....
. ::.
1,......
!.
.ON
...
..,? .S ,!?
E: ...."
.6
?'
?'
M
?
'S il"L.
......
Z..1.
?.
-11....
-1 0
?"?
V ,:n
-
A
,?'
':
2 ?
"
M:
R'
oil
3.
?
?'
, ?
?
I
i::
?
:??::.',N??
::::??:
??::::?
??:,:??::.',N
05?'1 $1
,?
:.
!
:
64
,-
i?,e,.i i ?!?
O?P
?'
'. P ;1 -.?,
I so
.1
.1
?
.....
.
..
.
.
....
......•..
.
.....
i~~i i
diU~~~i-i•
?~:
•iii!,•,•f'
.............
.....
Fig. 21. Guo Xi, Early Spring.Northern Song period, dated
A.D. IO72. Hanging scroll, ink and colors on silk,
158.3x Io8.I cm. The National Palace Museum,
Taiwan, Republic of China.
::
-
i ......•
-:::.i~i•
:,,••i• -.:•i•
210
S.
?V
x A
x
IM
M.
Ze
?.
t
wzg.
Sm
.....
....
.....
'.4
A.
K ?0?
6.
ON
wi..?
:1M
MR
gx::
...
...
....
n17
m
Mirv
Mwm:?,K,?c
X,
rc
ex
No
oi?
29MM.g?
nom
....
.........
......
....
N
rO
W.0
N..
nS511.:
Fig. 22. Detail of figure 21.
Z!4
'n
17T
W.-:
W?
ORM
IC
ly"??:,:,?07
W 654'A.
QW.
M,?4r
Fn
xx ZEM
le
...........
w
A
M
1AL
'Q a.NO
.........
.........
.....
7-:
: :::
il
~~~~~~~~~~~~~~~...................................iii
i.•
q 'Xyv:
le
i_:::i ::i::::
...iji
~i~_:~::
I. . .......
.. ....K.
X.,-
I::
:::::.........
:_:_
i_
:. . ...........
:
m
A
......-
...........
D4,
~....Iii-i
i.....
ii:..
-i.i::-II-i-"
-i~
....
Mg
.....
:
: :_
I:AN-11
:-::. ..:-:......-:
::-:-::
:-:
:-:-::
-::::::::
:---::
::::rB5
qg1
--:i::i-
...........
.........
.
:
............
e- :
::rqi
: r: -
-
........
.
:::-j
:
iii . i i
-I:i::li*m
-I--1:I::
kv
::
:I:-:4
14.....
:i4'K
-i: i
PT
Fig. 24. Fan Kuan, TravelersamongMountainsand Streams.
Northern Song period, ca. A.D. IOOO-2z.
Hanging scroll, ink on silk, 206.3 x 103.3 cm.
The National Palace Museum, Taiwan, Republic of
China.
(old attribution
Fig. 23. Feng Qin, attributed to, Snowscape
to Juran). Northern Song period, ca. A.D.II2O.
Hanging scroll, ink on silk, 103.6 x 52.5cm.
The National Palace Museum, Taiwan, Republic of
China.
Fig. 25. Li Cheng, attributed to, Tall Pines, LevelDistance.Northern Song period, eleventh century. Hanging scroll, ink on silk,
126.1x 2o05.6cm. Chokaido Bunko, Yokaichi.
?'. , . .
1
I...
..%
?.,,
I -
I??
. .. .
.I
.: ..4....,.4.
k: -....
-...11
r.
xI...
.. 1,z'....p 9.4
..
......."..,
........
? 11
?*:....
?,];.
.
I
I
-.-...,.,..
.
Wxl.*.?.:??..
?.,?
...
V-...
,..,
'*V?,.!,'Al
.
.
w
1 -1. 14, .1 ?IAM
??'.!IU,
.?-.
.
.
"
,
?
:?:
-??i?*
..,-?.?
-,..?
:?:
"
:::::..:??
I ??;:
w?zl.......?
I....
1.
?I.::?:_.::m:
.?,
....,:?,.,:
,.x":M
N.x_
.-,?
?..?.
,i?.
:?
?.
...
...:,!:?x:!??M
?_
::
??..,,?:_,:??,,
:.??,.. .%
_-.?
,?::?i:??,
?",:*?:
;???,????.
??,i?
.'.
,.-1',
......0s:1.
...1??...?i::?!?
..
.
...
.
.
.
,.....
....;
,
I.,??::
...
1:1:1--:.?::
s?
,X
I'l.,,
,.Ill??i.
,,.l...._,.,,,
"M .?.
l".:
???i.
:?
???i::!:??:
S
:
.1
I
,
.
,
?:-.
.
I....
...
?
1-.;?I::
.X,?._.
,??::
,'.
....
..
?:.
.
...
.
,.A
,
.
,
1.
c
i
R..R!::
,
::?..
.
1:
....::::
X
.....l.....
.....
..
.
:
:
X: -.. FM
jw
I,?
fiW
."
..lass
.
..: ,....
.....,.
.
..-.-. . V%
_1.1...
!!!
:,
1.
.
.
x5lxi::
F..
.
.
...
...
.k
.....
.
??.??!..
....
?
:::
:.
W
::,
??
.
.
':
I
.
.....
.1.
..
.
_-1.
...
,
,
..
.
.
;:I
.....
.1
9
?...?.
:
.v
.
.:5
....
.
l
_.
111.1
V,
k
.
.
................
.
..
.
??E??i
.:.
......
..:?,:.*
- 1...:,:..:??!M
:...:,..
.V:
;_-...?
I%??
.;:.'l---...I.I.......
.8
IM
.........:
::.::.?::%::::::.
.13
....
.:?
..........
M
.......
......
. I...
. I.?:
-..:
.?.........
-...."
W
.?.
.??.:
., .-1
.
11-..
:.11?
:??
4, ,
:-..:.. :.
,..
.Z.
?..?
-..
1?:
...............*
I..."
...
x.,-.?
, sl?.
.,
-...?:..:
-..
,_
?..,1-1.
11
-?'...
,-.??.
-'I
.
lk
?I:
.?:,.:,
*??q
. e..5.:
.........
,-:]:_.
,IM
10
;?l
A.
??i...:
. . .::
_
.
::
I
,;:
..
.
.
?
.
.
,
iI?,??
:
?
I
....
....
..
.I,
....
.............
I
I
,
:
.
.
.
I
11
-T
:g
".:??::,:
??.
...:-..
.4.:.?:?..
.
...:4,
..
...
.
.
...
...
?
...
.XII.
;..
?
?,
s
'.
.?
?v
:?-,::.
?,-?-,.
...
s.
?
..
?._
*
?%
..
.
I.
.
RM
1?
..
.
.
.
1,0
..
.11.1.
....
?11
::?3
..
....
....
"::
.4
:?..:.
_W
?..
...:::x
.?...... ....
..W
:.:U?:
:?:
......?MX
:..
,?. ??,g.I.: :?
.X.
?-_?
::.
?::1::
11"
?.
,.:..
..,?
M.,
.?::.?!
?*
.'.."
ft
,..::
....
..:,?s:
..",':..,..!
.%
u?::
?,,
-1
....
....
?.............
W
-N
- ??
..,.:.
....
-.I_:?
::::;.,
.:..%..
.?:R
.ek??
.,..A......
...
:-1
W
I......::.
?::
.."n
...l..
....
vi,..?
:..:::,:...:
I%
:..::M
:11:
x'...
-....
W.
"
.-..:.:?
__
:?....
....
-....
-":o.
.1
........................
...
.......".
"-Il.
,.
.:x;?.
.,:::
0.0
..I???.
*r
?.:,,,:.
..R.0
.:
:,sx::?M
.1.
e;?V.W
ex
..?...?. ...:.
I?
?,,?..?I,
.-?.::..
.-l..
?.
-.4
A.. _.
:?:.
??'M
M
......
"::
_..:::9..
.
??_
......
'.?...,
..;.:.:
?::?,N??:.:i?4,."..,
1:1?
,!.?_
.._
,_
.:.
...
_....._:l.....
yl:
M
....,
-1:
??.
..,.,:
,
".
15
?.
?.....?..
...
i`?..M
...
..::.
-.W11-:
I..
.V
. ,..,
....
?:?
e,::
x
.....l.,
.1-1-A
?..18.
-r.,,
,.,..,?.?
.,..:?.:
:,.?
.,Q
.....:...?.
4?:?:??
...
;
.
?
.1
??
I
XIXIM
.
....:W,.:.:.......I::.
.
YK.
.
I
.
?
.
,?
R?,
..
?-.l
.
..
....
..
i?r,
311".,:,?
..:.:.:.
IV,
M
ee?w?y
1
M
....
a
?? ?.11
:::::
I
?:::?
4q
..
.
?_:
...%.
.
.,
.
,
%:.??
V
.
.....
.
?.
..1
......
II.:
.....
?......
?.
,
.
...
..
,
,
I...
......
I
.
.
,
_
:.
e_
........
.
.
::?
:?:??:_:___
?
%:,.
:
't
???
.;??
?,
..
.
..;:.
..l..
:
IZ
.1.
%
1_1
;ly.:
..
:
V
...
,....
1:?.
?01
?.,?
1'??,,
:
....
:.21
_.
x::,,
%::.I:::.
se:.
11
...?::-.._.:..._?..
V.:-.?,....
.
,
_,,_4
::
_:*,.?:,
.
??i?:ii?
,
I
2..i??
.
11
..'.:?i.-..-:R:::
...I;I'...
:?_::??:...:-:?........
........
....l..
;?;._
..?:. ?. _--.ex,. , ,,!,...
..N.
..
...
.11
..
"
:...
...I? . ?_-.. ":
.
,M
..
'.
"
.
1:
.;::?
&::
..
?".
??
??.
,??
X.
.
W19.
:...%:.:
....
.
.
,..
''.
?i?
.
:
M.
?,?:.
.
.
'.
..
:gj:j?:
.
M
..l
....
I
_I X.?
,
.
.
.
.
?
...--:,:.X
I_
. ,...
:
......
?.?i..
,
,
.
.
F
.
.
1
.
,
.
?
,
X
.
'
_
.
.
I
. . ?,. .
, .- . . .- e :
%V- 'I,.- 1._.-l
x . . . : - ?: ,
. , . ML ?. . - .-
". .:
?
Rli
0Ul ?....::-IIS
I1 ?..-,:-,
?M
lb
SK
1
?
M.
.1.1.:i
i:,
M
. M-.i_
1.
I
1- 0
I ?
!?
I'K
,_-
la
.
I
I
,?i
?.s
?'
:
:; .?:
Q
?l
t;P
?'l ?
I-
W
`?
? 1,
.1 I
:. ?
IS
.
.
.
EM
-',.l
A.
,
K.
g,
i
,
il
?, ,
A. ?- i? ? 14 ?
?
?il
?i l:
.1 '.
i?
:-
i: Il
I
.:?
:.
:?
W
, ,I,
?
1:
plE.
,::,?
..V:.:..-,
,
. ?: I se.
. . . - :. 4 1. I:. . : . . . .I - 1. . :
-.
I . -, I
f . . :i?
....
'.- ::ll??::
.?:
1:_2
.M-
,.: l.
M
?
1
I.
.
-
? I?
M
"il ?6
?i
1
,:.
.?
i.
.
?`I
I*
i:
-.
., - ,. ' - ., , 1, ., -, -. .
? ..
:- s. - .:I . . : . R Z
. . ? x*:s. . ? . . . . :1 . . .I . . .- . . . . , . . " ?
-'. . F -. , . . . . . .= . ' .5 . . 1? .:? . . .. . .-. _- .: ., : ., _--'. . e1..l.?%..._. ..-':. %_. ,. .-?: - .v . I I. . . ,". . X, . : ? .%: . : ?. 1. . . :.F : . 0 .- 3 - . ? ?,._ ., : .I0 ,I ?-.. ? .?, " ?. ?.l:.. .-%.. ;--., ? . ., -_1.. . -.::_ -.. -."V%. . ._. .,.. . .? :'. . . %-. .1-. ,.:. .. , . .. I:. . I -. .:? -.: -.,.i: .. . . -?..", .: .,-.- , .. , . .
%. . l'.I- ....:.: . e........
.-_.,?.?,. ga
-.?r?
.?, I-8.
., '...::lMrW
.,- .AR
. ..:
--..._I...
. .......
.:..
. ....
. . I.,.._:::,:X.
- .....
:-C,?
. I 1I , .. I'l . - .....:::
. ..:..:.?.
: - ., _ .-.,:.,.;
-6..?.
,..?::,
:
I?,
.
.
..::
-.1
-..::"
?;
%:,:::q?:?!?:?:?...
.
:
V
_I :-.:.......
.
.,:: -1 I , .. ....:6?..:
.
x
??,.
.
Is
M
.
....
...
.....
.....
..
.
..
.
.......
%--'....
nl.:
.:
?.::.
.
.,:::?::
.
-11
...
:_.:C
.1
.
.....
.
.:
:e?I:
..
':
,I`?r
.w
.
.....
.
...-:::
.e
::....
?
..M
,M?.Wl..?
-:......?.??:1.?'..:?::.,::.:P...:
...
.....
--s.-Y
:..:,:..":,...:?.%::....??::..:.?.
a.
.
..
....
.
..
:::?
..
..._
,?:-_...
..
:
,
......
?.,
.
...
1::
,
.
..i?
...-..
.........
......
..::
..:...r?'....?.?::..:::?:.::,.::...?.
..M
.
:.Xs?
SI:.?
P%?
0??
?
sii:?!?i?:?..??...,.?!?.,,...
-..:
?Il
I:x.?:
e
g
?!?
?.i??o
,.e
.6'.iM
.:x..
;...-.......
%%
.1_.I:I ....
:::.0-::I:.,.?*l"
:
n?...... 0....
."
?sor-....:x;l:?:11:
'..
:.o:
W?
..1.
..-::
. .........
.
...M
.!
`!fl
. ?,i.
o,
!P
-
?.I,?: ?X.'
0
,?
.Im
l .-4.M
M-.
a M. m
?l
?.,
.:_ ]
?
.10'
M?
?
?
-.,?
?.,
I_,
.
?.!.
.,:
_
M
?
;,i?
"n
. ,?
..
.
?
Z.
ly
.
-:;: ,:o,.-g.: :?:
,
?.:M
w
m
S
a
,
I. -
:.? .: . :
? .i
.s
lt,. *?
.
PT .
M
N
?
-
?5
-:.,
?1.
. .M .
.
-?.
.: ,.
;:I.
_,:
I
?&:XN
,l. d:
'!
? -
:?
:.?
?
?.,: .
?.
_
?!'k
M.
.:?
,
.
:_?'.
M
'1?
?
? ,:;J?:
?=
M
-
.1
Il M
I'
O
".F,
1
. NR.V
.
., . ,.: l?,v:-
,:-
P?.:M
?"'.ls
?
.?
-
.
,:. . :,. ,. . -
? :.se:
4.?W.:
-
?;.,,."-. ?I1
!,
?:.?: v: ?.: -":
.,
.
-:
4:%
.- ?,;:.
l?
?
:. ?:
:.
.:?s
:? ?:lmi!M
:!?j
I
.? a
-I?
.:; ?
.r
_-
. R.
a
? P,? :.? :.? : !
j
.,-W 1.
QlK
Sk
i
%-
:. _., . l-. l.
.
8 . ,!:
?!
.:,
:.
:? .
:.-
:.?-
H
.l,:.- :. ,?6
.,
:.
I
.?
:.
.
?:Y.
.:?
-.
.? ,
i%:? :? :
%
:
-
.
.:?
. 1?-:?. ?. ?. ? .?U ,:. .
?. :
W. nx?:
,?: ,g
-:
?
s, ?iR ? '*
:
?
&R,
.,?
o%:-
%,.:
Im.Axc-
.:,6:,.;?.,
.;
-
:,.
, .,
?: ? i?A?:?:?.,fi
.,X
,
I,
1,
?:!I?. s : ?.-
? W,
M
_!: ? ., l
.
.
M
?
l?! X?.M
M
.?:
?!
i?
?.
I?
M
.? .W
.
;Ix
.
:?W
?
:.
r
"o
.?
X
?
.:? :?.67: .?-.:? :?
;,?
irl
..
. I.,
.
?.
-,.:?. l
: . ?xK
.
?.!
M, ?
1-
N
?i
?: '?f,
":
?
,
. . gw
W. M. . '. -
'?
?
,W
?
?.:. :?
W
.?
a
IN
! ,&
?.. _. %- -_. ". . . _. .l
N.?X.:_ .
?
-1
?
:
?
:.
?M
-:
?.-:.
5.
I ?
.1,
.:? _:
.
:
,?
:1.i?!
%
Ilx-
%i'
?_
R _ 04
:
0:. ?:
?Xe
._
.,
.
M
?
?
k,
.;,
r,:
1:,e
:, .,:?r
.:,
I'.
:0?,;.
.,
:
.x:l .:_
., *;.. :. . :X
.,
"I
:. ,
T.
. *,
.:
:.?
vor:?'_
o
'.
6
w
_?i-: ?Mf i
lAx.,
I.,
.
o .",
,?
ol.
M.
,:?;
.:i
.
.
%.
:.
.:
N.n.g.? . . .
.:,;
?i X:i.?,i:
n
?R,:
v
.M
Ow
.-
M
-
1g,
?,
.?
x:.,7.,!q
1?
x:.,
I?
.
.0
.?s
w
?. -
?
? !? 1 ,41.1 .m
. -. ?l-?: . ,.
.1
2&: ,-?:
,.?.
Asx
?!I. ".I
:
a
, .
:?i
,"l.
lft,K?- .A.s . R.M
.x,? N
!?
?
IT
?
?-,
.l .
.W
?
M
,.?: lf i
sm
'.
I ?
?-: -
M r.
.,
"r, 'I
:?.%-
.Is:?
.
':
.-
RM
?1
I
gv.? ,?'. j?
1
lo?
?
.
-1
.
.l.
.
X.:"
K
,U?.,_
,
:_
:-.
.?
M
',:,_:-:-:.?::N?
.
.,..I
-?
?'.
_?.
IX..
.6:%%
??.::.?A
??
,%
?a-,
,.,?,.?..?::?.::.?:?::.:?'..
.::-.l.e...
....'.
'..
.ff::::
M.?.
.le
1?
....'.........
?...
._.
...?:,._
.j,
..::-6...
....,
:....,-?,.:M
::::.:
.??
.?;.,;..l
.lx
::?-_:a:EX.
',11,,.?:.?5_3?:&.:::
.I=
-:..V
.....:.-.:,M.M
;.l:.
INI6
..
..?," ....
:-.:....
.:.
I::.....:.
1II...
.-11MM
?....i.
1:1:
-4.,::.:.:.:?::...
I.::,-...
.-.:?..
....
................
...
..:..:::
M
....:?
28:,.",.?.%?.::Ix.
V:
::
ge?-:---?::-%.:%
.,...I,?:%:.
..:
:.
.....
.......
,..%?.
.:-l.l`M
..._...
J...,
I.,
. ......
11
,..,
*?.?k:?.,.X".&
..s:
...
. ...s.
....:e?l.
_?::<??:_:::m....:
.:?.,X
...
-__.........
...1
.....
-:?
.........
;:,Z*?::
5",
:e
..:::
...-...
...;I ?..2??
?]?i?s:
':
......
....:.:.
..:??,
...
:.....
..
,? 1.
.
.
....
...
.
..
...
IINCO
.
.
:
.::
...
..
..
ig,
....
"
?.
.
-:..
....
.r
::1.1?
...
?
::
,..
::
.,
...
z
?
::.::?
?;.....W
......,.X.
1..r.
......
?
.,
-xl
lesl.p,
.
...
.
.??
I
.....
.
Or
in
?....
,
''.
I
...
W
,.:
:?:?:?xx.
.
.,::.
.
...
!
.
?.,
X'M
....Mx
l.
?
..:A
.
.
.....
...
.:,.:;.:
,.
.1
.%.
,
.:.?l
?
..
.
.
..
,??,.
.
.?
??
rk
I
.
...
..
,.::
?:.,...
,
..
.
.....
.......
I
?.?
,
W
.
"I
.
..
.?
.
.
..
:
:,
?..:g<,I,?.
....
...
11
..
1.
?
?:;???
....*
_:.
_.W
I
is:
I
..
,
?':
..,
_
?%..'?ll.??.?,?,:Z..::
.
_,,....,.
1
"
.....
I
...
??
.1
.
I.1q
.
..
:
:?.:
-.?.
.0
..:
.
--:.:-:?.
,.
..-,
e
..
.
..
?'...
I
---..":::Y?
?..::.
....
...
I
rr....
o
.,
I
M
.x.
..
,?.
:
.:..,.
??
?
-I
.
?...ffl
':
...
..
:
X
I.,
,4
I
.
e?
::
I
.
_..
.,......?.:..4
:x
1:
-,:-`-;:..
.,....
...
,,?r.I;
w
:?::,'
.,?
,:?,I
."
::
. I?? ,I?I?I? - .......
..:::,:
-.:?:?--M
?...
.I
--1.1
-I?'..
-.1.
:?.
:,::?::y:;?,
_...
......
%:
.:...
""
M,?,
-'..:"I....
-.."
?...
.,.
I?.SM
,...?.
?l
....
IM:I'..
.....
III
.. I ...
,
..?..A
"_-:_?,
I::::.
_:
:?:,.
xsll
M
?1.
??
Xx,
?"
5?..,
i?:
-.:I,?
.,::%:::%:..X&I.I
?,?g
1"...., ??.?,,,..:_
...:,::,
-:V,?,i??O:
.?
.-.1..
::o::"..
...
I...I.;::. .I.-?.:?
......
1.,?
M
.I:.
......
...
al
.rol"'I
,.?...
?R
RA
I'.
...
. - -:?:_
.?.:
-1.
...iN-'..;.%,.:I
.
.-._._:._.
,....:..
...II.. ?I" 10 1 1 ?. I _........
....
,?:
-.11..,
.
---...
:::.,...
.
t
.::
': IM,
Os:?.,:
...
:?.
........
...
.
11
!l."',
_..l...:..
::
....
.?.. ....
1111
IN
bl.1 . 1,
.
,
,f ?x_ : ,: .
..:.....
:,:,,:k:x:M:
?.
::::
:?_
..-..-..
:::::
-?.
--??,
....
.eIT
...
."
?..
19
...
?...
:?:,:
.g!?ii.7..q
.,,-,?,.??
I.:.-........
:??.
?"..?r.tffl
,.at.
5.
lo,
_w
:.....?,
-?,
I.:
lh
:;?.:
::
?:.I.:
......
.......
..sps
?:s
i?.'.,
-?.:.":,:
...:
I. ..,?. ,?
"
.............
elm
:,
.1
?..?%:::.
::.-::?.?.?:;:?.?:M
-:1
??.
.....
..,
?..,:...
1..I..-::%:
.:?:?
...
..........
.?...
. .1
I.:
,
,.:,
p
a W
?,,M
:-..........e..l
M
.......
::
:.:.
....:.:::.::?
?%,?..i
-..:?.....
.3
:11...
.....:..:...A
?....
.......
M.N.,
..:.?...IIII::,??:::
.??
i?.;,
.i?
?.:,::,:.:
.......
?:xx
.-%:%?:e::.
:......
:x
.?0
,.??,
..::...m:.:?!:.::??:
-M
:.:
.
11
.M.,
%,::?-1Q.:
...._.....
I
'.
*X?:?Iex..::?::??:
.
N
,?
-:......
r?
..
--?*,?
,.R!Ir
_RF
:
:??.
.:.:
?!
,?
'.
.
x"
.
lK
..
.::::.
..
.....:_??:?
...1;
.
...
,&
C
....
?
;.:i??ii
,
?,.gp
?.:
.
......,
...
.
;.
O'l
'.
.
.,
.,.!?
X....
M
.
...
,?:?
.
.
.4
.
Owl;l's
!
'11L.l.
??
A
l?:,?
?W?
.:
f
:,s,
..:
?.,
:...?::.
1
..
.:.n:...
...
.........
.
..
....
...................
:..:,
.
..
.l...
.
.
..
.
...:,x:..%.:,4:::.::::.
::5::
.
.,!?..
?A?!::T....g
.
..
?
..%.
..
.
.
?r?.::,?g?i
-,!?,.
:??
.,?&.'-?
......
........
..
..
::?"::?::
e
::
?::
.!:?::
'i
....
,..?.
...
:::x:
,.
.
ls&
.......
...
..
?::?
.:;::c
.:
I
..
??::
.:
:?.-.
..
?
W
...?
_:
%:::I
::
?
:??:
?;.
?-:?::::,:-..
..?:??Q
.:
?
.
_
:..
::
..:..?::.?::::4
........
..
....
?
..
:::
?
::
*o
?
.6
,.&
::
?!
?M
_,..
.....
a
.
.??..
..
le
,
:1:511
.
...
.
..
....
....
..
..
:.:::.
:1?11.
,:,::?',I
I
'.
x
.....
.....
.
..
.
.
..
...
.
.
?
I.N
.
..
.
.
...
.
.?i:......
..
...
.
:v
..
ml"sel:5?.i?:,!.1'12
.
.1
%,
...,
%::,:....:
.-.
::::.?..
........:
?1:
,.l
l....::l_.:
4
,
....
'....
I
...
1
:::.
ly
:.
.
..x
ll..
.
....
...
.
I......
..
...
..
..
..
..
:.
le.
1?1
.:-:
...
.::
s.
I
1::?.:X
lp
.
...
.
..
W
?e_
?...:..
..
,?.!?.:o
.
..?
......
.
.
?l
1.
.
.
.
.1
...
,
IF
....
.??
.
..
.....
?0
.:
...
..
..,.:":.
?
,
,
I
:
som
a
?n
.-::x
::.
.:
l:.:.%r,:z_
.:..
;
?
::
:,
.:
.:.Ij?.I.I?11:1.?e..?:::?:::::::??.:.
....
....:l.....
:
::l.
I
.
.
af
.
?
-',
.
?,.
Y,
. ,:-.....
N?:, Y
..,:.
? .. ...
lrzi??M`
.?..:......-, - ?
- I ??i ?.?`?g.,..X,:.x
I.. .............
--::.:::..
_x
..,.?:::.:.,
W.
" -0":
.;: d,...:.,.,.
1. - ?:_._
.
--,"?__'".,":%V1
.?.:?:?
_:...:::?,;::?:;?..:::??
:-....
"...--,.1
::!l:::,?.::
::???::???,?.
":
I
.:"?
zm.:
,
.-:?'1 - .?: , %. . . . . -:. I ? N.8
,? i: l? z?
I
."- ,.: ?._.?
1? 1-. .
-:
. ?:
,Ml
.
.
?.
;-,
?:
M.
.
x
.
.
.
?.
Xl&,?;. :.;%:
.
1._
_ . .
. 1,
.
.
I ? y . . . . . I, . ,. ?.-,I:?.% . ._?
?
I
z,
l?
1
.1 1 F
I
xl
?
?',
as
fl.
I-
-
I'm
I
owomo"'.,
"r,.
?M
.?-
0
r?
I'l,
R FIRE-K
Or,
e?l
'.
? ,'_.,Y.v
?_
'.
i, In
? IXOMI,%:-
,
AIN
.:5
.
?.
.
. : :? . _ . . I'l .
.-*
,
5
I, I
.?
:-
..
1:
0?,:?d,:
'&
....
.
...
..
...
.
..
'.R-
xl.: x
:?,-
1
1.
. .-
.- .?
X.M
?
.
?:
'.?
I. ?.w,
0 I,
,?
:
,?
IM.l
.W:,
".10
.1
%
g?,
3?.:"
W.
I
. .
s
M
:
?i
1. - 1.
.-:
X,.?-
?,.:
.
?I .I'. ? I I . I'l
? ? I., I
I,. ? ?I I ? ?, I.?, I ? I
I.1 -.1 ?, I ?
- 1 1 ?I
-? . I I .- 1 . . I .I I -. I I I? ? I . - . ?
?I I . .?I I .1 I I 1,? I ? I I I ?
? I I 1 I I I ?1 ? ? I I I 1. - I ? I I I 1I I
I I I. ? I ? ? .1 I
?I . I I I I
?
,
?
I
.
I
I
,
I
I
.
I
I
I
?
.
l
I
I
? .
I , . : % ,- . I
?. A? .
I.M
? ,--?
.-."".
-1????
I11-1,
?im
....
...,.--?.O
.....X..
??--?......
I,?
,:::?::
*?
-
I.
.,?:
.
-1
I
1,
I
.
I?
I
I.II
I?II
.?m
lwm
"
I
?
I
1:
,I
1
:? . ,
-.:?,. 4:.-.
I
?
?
I
I
I
..
...
...
,.:::.
.:.:_
.:::.
.D
....
.....
.....
.......
......
.......
I I,
...:::
......
.
..
..
.
.
......
...
..
.....
.....
::X
?..
:,
.
.
..
?
:::
:...
.....
....:,
.
.
.
.
.
.
::,::::.4
:.?
..:
..:l:e
::.4.
.:::?.:N
.5?
'.?
?:.
....
1..,....
?.....
.::?
.. w...:.?::.:?
?,
;:?
,'...
I
......
. ?......
.::.
..-...
.
.
.: ?::.?:,??:::.
..:.,.
I ,.:n:?
.?...':4
...
?I ?I.e
?........
e?Is
I.,
- ? II?
I ? .:.,.
-. I
?........
I
I
.- .
.
I
-?
.*:::,NP
',:?.
:,.?:??!,??:,
..I.................
..?.? ?1
.?::.:..
:.?
....
I
1. .? ? I
. ? ? I
I
I
-.
I . I.
. I
I I I?
I ?
I
? I I ,I. ?,
I
I
?
,?.
II
I ?
-I.
?
.. .
....
.-%:::e:6'.
....
I
-.....
....
?:::-::..
......
?......
....
...
..
I
.I ......
-6.."',
.:
.::-,...?z...
::::?'..'
:.e
%::
'..:....,'..
...
'r?.....-.
I I I
...
-?::?..:.
..:.::,
?-:..:-:,:..
..,::..:
.....-..
II
::..
?:,
,:..
.%:::::%:--:%:::.:
-x.%
: -....
?:,:?xN
:::.
1
:..?::
--?..-...
..?,
1? .:.%,:.
..
........
...
............
?.....
?:::%::
:1
...9.:::.i:.".?.'??,
::
.,,...:...
............
. .:..:
........
.1%
.,........
.........
.......?,..........
.....'.......
.II..
:...........
...
.......
:.X:
:::..??.
?::.?:...
.I??,::i:.?.??.?
:.:.:x
....
?.:,:.?.,
mm?:?ze
::x:%.j::
i:
..Y::...,....,.:...,.::
I,.:..:.:.,:,:.?:::.
.,.;:
......
1:',
?.g:??
....?:,::?.:
........I....
Q
?X
,0?.
:i:??.?..:?:.:::?.?:.???%:??::::
I
...
.
,..?-X
:<?
.,::,:.4
:"
.
.:
...,
...:?::,
..':.,?
...
.
:1
.
.......-....
...,.:..
:?.
.:,::
..?:
.....
.::?
,:,-..?
.
..
,
.::
....
.....%.
", ::%
..:..
.::::.:x.:?::.O..
..:......
.-::.
%
:...%:?
,:.'.:1.%:
.:.V.
.?:.::,
....
...::,
::...-I..,.
, .:..,:1.:
::.:
,
.? .
,?:.
::?:.
?.?::?::?.
?.:
I
"
-
,,
....
".
MI.
?;.
?.n
...1,5
..,.
5,e
:?,::?
.?":,
,: ?
"
.?-..
...
.....
?:X.
..??
....?.....
.-X,5,CX
........
..:??
..:.? I I?
......
II
::e:..m:
?4:..:,*.?
.1
,::?
....:,.:?:,:.
.1.
...
........
.,.-....
...,:"
.:?..... ..I .:%..:.?I?,III?I.,1.I I II?,::...:.
? .. . II.....':..:%,::..:::.:..
...:::?:
.....:::...:..
?-.
,?
??.::..
?.
...,
I..I..
:::;:...............
I I I? I
..,?....
.I?......
.:
....
,mx.??n::?
;.:j:.?
...
........
:
,,
:?
-,:..:::
?,
..
?,
?
-....
-?
:
.?.:..::,...
:
..,.::
:
:
.?,?K*?:.mK
.??::?.,??
....
.:
-..
..:::
.
2-:.g?,'.??,...,..i!A
I.
.
.
..
.
....?
-.-...%..
,.:...,
-....
:...
-::.:.?
..-..--.-..,
....
.?
:.,.
.
., . I
.xIx?"::?:::?":::?,:'.5.:?,
..??;*:;H
.-..
. :,x:?
...
....??
?,
X,
..:.??
I...,".
-...*..:.,,l
?g,
. : I-..
??
---------------*?.::*
.:
?IIIRMP
?
,,:
I
II
I
....
....
..?
.?!-...??-,.?;-.;??,?i?-.??
.....
II
::
K::.,
..?.:
I
:,
.....
:
....?,, II?.'. IIII
?
.
::?.Kt...?!?.
?
.
.
..
.
::.
1
.
.,.:
:::
.::
.,:,:
?
.....
.
I
....
.
.
:........
.1
..
:?
:4?.1k,:x
.::::.:?...
?
I
.
F.
..:.?.:?:,
. ...
...
...
....
I
?
,r,.:?
I
I.
,:?!:!
.: .?:::,!:?
....
....
...
:.
?...?..?.??:?
......
....
..... .I..
.....Z
.?:
.'.....
...
.......
.....
??
.::?
...:?..%%.
. I...
...
.? .
II
I
I
I
I
x::.,
.
.;:::
.....
...
......
.......
...'.....
. -..,
..:.. .....I
-.?.I I I :.!??i??
...
?...
...:::
I.X
.,..:?
....
??
e.........
....
?,::?
??.
I.........
I...
,
..,:'.....
?...
...::
...?.:
I
........
.......
,
'...
..
-?
:
:
?':
.
.
,
?
:.,
:
?:i.
?
.ji?...
.-.::-.-:..-:,.:.?:.,-.-:
?
::,
?
,
e
..
.
.
....
..
.........
.....
...
:
....
.
...
.
.....
..............
I
.....
:
...:.:
..
..
.-...
??.
...:..
............
..4.:.?...:??
........,-.:
:...........
.:
...
......:il?-.-?::,-.
..........
.....
.:a
.-'..
.,:.
Y:?:
..,..
.....
...
.:::
...::::.
...............
:::
.::
::.:
-.
.:
-...
..:...
.:.::
...:.:
..:.......
....
...
.:..:.::
::::
;:..:,..
.::.......
4...i:::
.:...
--.::::
.?.::
I..
.:
..:.
.....
.....
........
..,...?:.:"
,-.?
?.-:?
.?:,
?...
...
::?
...
......
??I:?:::::E
::,
............
?:.::.
::
:?.::::
::.:.:
..:::..
.......
.......
......
-..:.;::.
......
.....!::??,.?....?..
...
-:,.
..-..?.z.:?.
.?::.
?4:
....::
:.o..m::
??
.xz-::,?,::g?
..%::o:::X
.?.?:?:..
........................
.,.:.:
:..
.
.
.
.::.
..
.:
.:%...%..
?:?
.::.
..'?
:.::,:...::.::.:.?
...:....:....:..:..:.:....-?5.,:..:
.
:?:.
.
..:..::
:.....?..
II.1
.
...
?,::.?.
...?
.
..
..
'11--.1........,
..
..
,.,?.
-?
A
::?..:.?X?:-:....Z
........1-M
..I
?
..
'.
.?.:?::::::.
..:
'?:.:.??
?
'....=
%
,
:::?
..;::-.,:::
........
?'.
.
'.
-?
, e ....xm::??::?.::.
. ....I...0.. ,.6
?.M:?:::2?:..-?.?:?!.::::X::?.?.:R
,M
:.:...
- ..?.f..
.:::?
.,:?.:.::;::?:
?.
...:.?.:.
I
N?,.-';:..:..
?:??::?
.?.
` V,.
.........
....
...
.,-....
-?
?!?
'...
:......
, I-........
..%,
I .:..:
.?'
.:.I .:::e
::..
::.......
..::
:?..--e-,?;-,,..-. . .........
-......
...
....
-.....-......
......
......
j:?.X?:::::::::?:?,?::
-:?::::.x:?::
.......
.
I
.
.
:.
.
.....
..
..
.
.
.
.
..
...:??.*:
.
-. 1.4..
::::n:x
I:.I1I:I:..
. I?
. ?.............
,-%
V.....
-........,
I..
..:.?
-.:;:.......
....-?......%%..,:.,:.::.
M
i::?:
-...
.....
??.-,.,::-.,.,
....
..:.::I
....:
..:::::.
..:::
::,::
?.
..:
.V.
-..%
%
I
:
I.:.::..::
... :.
.:.. :.-.....
.:::...
....,.:::?.
...
?...
.
..
':
.....
:
...
x:.N.
.
?..?:::..
?
.
.
E,?,??,,
:....
ck
:....::
.I.,
...
.
:,:??::?;?::.
:...
'.
..
..
..
.
?
I.:,
.
::-.-_
::.,..:
...
:,??
........?..,..?:%
.
.
?: .:::.,:;:
.
.::.r??r:::.?X
m?
i?.i:
.
.
...
?g?.
.
...............................
....
...::??:
.X
.........
,
.
::..,
:?.?.:::?,
:3
x:....
?.....
.5.g
...??
-.:....::*.:?.??:::
...??:::
.,.:
xe.
:?.:.:.
.??
::?::?.,,.:.....?
-..
,%..
::.,.:.:
...:.:...:.:
:'?
:%::
...
....
...
?..:.'?:3??-j:
X,.??::.-?:
.;.......
...,
....4:K?
...:?;
........
a..
.. ?:
.
.
..
?,?,e.:?:::??'???go.%:
.
:
?:.
.R:
,.U
:::
:
...
r::?
:%:
,
"?:-:.::,
::?
...
..
'.
...
?
.
,
..
-:?.
:...
:...,..,:,?..
.
.
:
:
..::..
?:
??:
...
:,..:,
.---.:..?.:
.:... ?
...
.
.
.
.?..x
?.
.
??
.
..
.
.::::..,?
.....
.
.
.,
::
...:...
..........
....
. .:::,.::?
.?.....
...
. ?
,:U.:..:,.
..
?::..:
......
..
..
?
.....
::
.,
.
.-..V......
?...:...
.
::
%
.
..
.
..
...........
-..
...
:1
...
.....
-.:.%
:.?
:.;?::::%::...
?.
?.
I..:.
.
.
.
?...I
.,...::.,:
.
.
.
.:
:..
......
..
.
.
.
.
.
..e
...-'.......
%....
.
?.
.
.
::
:....
;::.
...
:
.
:?:.
:
.,...::,.
.
m
.
I ? ..::
.
.
:.
. .
...
%?,?
.::e,
.,.::":i:
....
.?
...m.*.,
:.??.
<.
4l:
.- ? ? ,...x:..:?
.%
..
..??-.,,?-.......
.1.
- .-.:
...':
::mv:
:??::?-?:,?'?
???..-?
.f
::?:.:.:.:
,:".,:
::.%%.:?
:. .* ..
..
?rx
-:
??
??
:??
.?;.
-.?.,
.......
.....
.... .. . .
.
..?
:?::..::.
,,,
.=
?x
....,......
.-:.*?:
?? .::.I..-V:.
.%
...
:.:..:.:,:...
-::??
?.. :.:?
.I...
.
..1.
..
:?:
?
:?
..
...
.......
.:.:.m.?.::?
x..:-....,.-:....:&.:::::
...,.
..?
?1:4.:
.I.':.?.
....
-*....
.
:.:...:
...:.,::
-....::
4,
.1
......
x.. .??.'
....
:?.
I."
--::.
..m
?:..
:.,
?.:?'..?
-..::
:,...
...
::?::?,.:::
.
..A
.n:
. .-....
1:
..?.....
.:,,.:.?
?
Fig. 26. Li Cheng, Wang Xiao attributed to, Readingthe Steleby Pitted Rocks.Hanging scroll, ink and light colors on silk.
Yuan dynasty, fourteenth century (?). Osaka Municipal Museum.
............
................
...........
....
.....
.......so
ml...
m
...
.....
.......
:s;:?*
;:xk:......
:?o
........
..........
I:
. . I.I:
. iN3:,gj?g M
.
...
......
.......
...
....
......
.......
...
....
...........
is
m.
.Y:
Xn
...............
....
0
AX?l
me
.....
......
No%.
..
10
Ix,
...........
...........
.
_x
X?.:
:8.
.
..........
I?:
?,w
a?
..
bx_
. .. . ...
:.
'A
0-;
MI;
M.
x,
7Z
ov
so
VIC
N
R
PT
Slo
'MR
Nm
o:
zv.?
ME
ra
.........
.Amip :.MR
_M...
'o-q.",
W
Ml
A
41
Mrs'
MW
I?MW
15W
0,0
..
7,
?n
ig
A-,
N
El
W
W
m
x",
TP
?xWl
0ggv
eF AP
YN,
VE
A
=w - wft
Ft
.
AM
F
RM
.. .
OP
"soI.;
7
g m?
V
.. . . . .
ml
A
a
K
7
WRI
.
WE
g:4,
#w
W
ga
NP:a
M.:q
M?l
IAM&
A
4
g
IM
ftwo
7,
w wm
Wma"m
R
Ej
As
viIe,
z,
?A.
NO
M.
WHE
Mr, ON
amzI,?
Mf M:,::;:?,w?.
v
WE
.elw
m
sm.
Fig. 27. Guo Xi, attributed to, Regardingthe Stele.Hanging scroll, ink on silk. Ming dynasty,
fifteenth century (?). The National Palace Museum, Taiwan, Republic of China.
011
16,
"o
1'w
pp~
VN
-,its
N
%J
_j -
C:.
alips
a.
k
r
-it
AA ~
~
*b~-
I'
Ar
toLhr7~'
lb?~~~l ?
Fig. 28. MountXian, from Xiangyangxianzhi, I874 edition.
??
_?Z'6
Im"'L~
A
4
-NO
-ma
.am&00%
Daoning and Song Di were notable followers of Li Cheng.80 The donkey rider appearson a bridge in
SummerMountains(figs. 19, 2o), a painting attributed to the Yan Wengui follower Qu Ding (active
ca. I03O-6O). He appears yet again on a bridge heading towards the temple complex of Guo Xi's
once attributed to Juran but
Early Spring,dated Io72 (figs. 21, 22), and just past a bridge in Snowscape,
more recently ascribed to the late Northern Song painter Feng Qin (fig. 23).8'Each of these paintings
exhibits stylistic featuresassociated to some degree with Li Cheng. After the late Northern Song, the
donkey rider becomes a well-settled inhabitant of the oft-explored landscape essay in the Li/Guo
style.
Knowledge of the associations engendered by the donkey rider allows some tentative observations
about the structure of these landscapepaintings. A key element is the bridge, which the donkey rider
is almost always shown approaching, crossing or just leaving. On the surfacethese bridges appearto
be nothing more than the simple man-made conveniences that undoubtedly were a very real feature
of the Chinese landscape. Yet the regularity with which they appearunder hoof suggests a symbolic,
perhaps metaphorical, function. That function, I would suggest, is tied to the associations of Ba
Bridge, symbolic site, as Zheng Qi remarked,for the composing of worthy poems. That is not to say
that what is painted in these landscapes is Ba Bridge - the real Ba Bridge spans a considerable
thesemountainvistas.Buttheconnotations
distanceandis wellremovedfromanythingresembling
of removal,separation,
exile, failure,andof coursepoetrythat this famousChang'anlandmark
representedcome to mind when one sees, as Zheng Qi did, a donkey rider crossing one. The intended
association, I believe, is with the Meng Haoransand Jia Daos of the world, departing from the capital
and returning to their wilderness landscapesafter failing in the examinations or in their attempts to
secure significant patronage.
The metaphorical passage from the insider's world of comfort and civilization to the outsider's
world of landscape and reclusion is articulated by the full compositions of these paintings. It is
clearest in the handscrolls, and of these the best illustration is the earliest: Yan Wengui's Towersand
Pavilions by Mountains and Rivers (figs. 12, I3). As one moves from right to left we pass through
tightly packed fishing villages, past pavilions, hostels and temples. Leaving behind these vestiges of
human activity is our small party of donkey riders on the bridge, heading towards the spectacular
passage of distant peaks and tumbling waterfalls at the painting's end. VerdantForests,Distant Peaks,
attributed to Li Cheng (fig. II), and SummerMountains, attributed to Qu Ding (figs. 19, 2o), also
suggest the horizontal movement from human world to wilderness, though not as neatly as this
particularhandscroll by Yan Wengui.
Yan Wengui's StoriedPavilionsby Streamsand Mountainspresents a similar paradigmaticstructure,
only now organized vertically for the hanging scroll format (fig. I4). The donkey rider follows a path
upwards,past what appearto be riversidedwellings to temple structuresnestled higher and higher in
the mountains. The higher he ascends, the more remote and spiritual the landscape. The bridge, in
this case, would seem simply to signify entrance to the journey, its role as a divider between
categories of human experience now assumed into the vertical, and by consequence, hierarchical
structure. The same basic format, with slight variations, is seen in the Li Cheng and Guan Tong
attributions A Solitary Templeamid Clearing Peaks and Travelersat the Mountain Pass (figs. 8, I5).
8o Xu Daoningis recordedas havingsaid, "Inmy heart,I recognizethatLi Chengis my master."CitedfromHuangTingjian'spoem
of Io87, "DaWang DaojisichengguanXu Daoningshanshuitu"(In answerto CourtAide Wang Daoji,lookingat Xu Daoning's
landscapepainting),Shanguji, waiji,SKQS,juan3, Ia-za. LiCheng'sinfluenceon SongDi is notedby Mi Fu in Huashi, I99.
Attributedto Chii-jan,"Archives
8, RichardBarnhart,"The'Snowscape'
ofAsianArt XXIV (1970-7), 6-22.
81
Neither has quite the grandiose pretensions of the Yan Wengui hanging scroll, but both suggest
physical and spiritual ascension from the mundane world of human society - represented by the
quaint mountain village scenes - to the temples above. The format is still present in Guo Xi's Early
Spring(fig. 21), though one barely recognizes it, much diluted and overwhelmed by the grand image
of a landscapecaptured in the dramaof seasonaltransformation.
What I have brought attention to in these various early landscape paintings can perhaps best be
described as a template for landscape experience. Upon it the artists add and subtract, constructing
visions of landscapeparticularto their individual interpretations. We note, for example, how Guo Xi
half hides his donkey rider behind a large boulder (fig. 22), demonstrating for our delectation one of
themostprominent
principlesstatedin histextonpaintingLinchuan
gaozhi,thatwhatis suggested
can be more effective than what is described.82 And we note in this same vignette how the two
porters in front of the donkey rider stand aside to allow passage on the narrow bridge - a prime
presentation of the paramount importance Guo Xi placed in the logic of the landscape, and perhaps
of the Confucian virtue of yielding, which would certainly be appropriatein a landscapepainted by a
professionalpainter working in the service of the emperor.83
If logic and rationality characterizeGuo Xi's landscapefor the court in the Io70s, then perhaps,as
Richard Barnhart has suggested, a self-mocking humor tints Xu Daoning's landscape for the
marketplace of a generation earlier (fig. I7). Rather than fishing villages to symbolize the world of
human activity, Xu Daoning added a busy foreground scene that includes a merchant beating an
understandably reluctant steed into a ferry boat and fishermen noisily casting their lines. Although
fishermen normally symbolize the peaceful life of the Daoist recluse, Barnhartsuggests that in this
painting Xu Daoning parodies their traditional role into a metaphor for the busy marketplacewhere
Xu cast his own line for the fat fish of customers to whom he peddled medicine (with landscapes as
his bait).84The donkey rider makes an aloof departure for the peace of distant hills. Yan Wengui's
paintings, with their stacked peaks and stark vistas, suggest an artist's fascination with the
overpowering majesty of nature (figs. 12, I4). The specific meanings Juran may have intended in his
painting remain elusive (fig. 16), though in all likelihood they are unrelated to the painting's present
title, which seems to be a later and somewhat arbitraryinvention.85
Such are a few casual observations of how some of Li Cheng's followers pursued diverging paths
determined by any number of factors after first learning the prototype(s) established by the tenth82"Aman on the mountaingives a clue to a path;a pavilionon the mountaingives a clue to an excellentview..." "Ifone wishesto
painta high mountain,one shouldnot painteverypart,or it will not seemhigh. If one wishesto painta streamstretchingafar,one
shouldnot paint its entirecourse,or it will not seem long."Guo Xi, Linchuangaozhi,635,639. Translationby SakanishiShio,An
EssayonLandscape
Painting,36-37, 47.
83 Suchlogic and meaningsarewell discussedin SofukawaHiroshi,"KakuKi to Soshunzu"(Guo Xi and "EarlySpring"),Tjy6shi
XXXV/4 (1977),61-86.
kenkyu
84 Barnhart,"Figuresin Landscape,"
63-64. LiuDaochun'sentryon Xu Daoningmentionsthat he beganby selling medicineat the
main gate by the palaceof Kaifeng.To those who bought his goods he would alwayspresenta painting of treesand rocks.Liu
Daochun,Shengchao
minghua
ping,juan2, I33.
85 The title Xiao Yi StealstheLantingPrefacedoesnot appearin associationwith Juranin anyearlysourceof whichI am aware.It first
emergesin the seventeenthcenturywith ZhangChou'sQingheshuhuafang of 1616,juan wu, 44a. The title appearsoften in early
texts, but almostalwaysin associationwith figurepainters,whichJuranwas not. The best-knownextantexampleof the Xiao Yi
compositionis the Five Dynasties Periodwork erroneouslyattributedto Yan Libenin the National PalaceMuseum,Taibei.
Gugongminghuasanbaizhong(Taizhong,1959),pl. 2. See the article by Han Chuang(JohnHay), "HsiaoI Gets the Lan-t'ing
Bulletin,(in two parts)vol. V, no. 3 (July-August,I970), I-I3, andno.
Manuscriptby a ConfidenceTrick,"NationalPalaceMuseum
6 (January-February,
1971),I-I7. For anotherversionin the FreerGalleryof Art see ThomasLawton,ChineseFigurePainting
(Washington,D.C., 1973),cat. #12.
82
century master. But what of Li Cheng, himself? Can anything more be learned of his paintings with
the knowledge gained from donkey riding lore? One author takes note of the central position given
the temple in A Solitary Templeamid ClearingPeaks, terminus of any human movement through the
landscape, and suggests a connection with the Buddhist faith.86 It is difficult to proceed further with
this interpretation since the painting is almost certainly from the hand of someone other than Li
Cheng and there is little in the historical materials to confirm the nature and strength of Li Cheng's
religious beliefs.87 Nevertheless, another feature of this painting tangential to the temple's
placement is both significant and firmly associated with Li Cheng: the expression of distance that
extends from the temple in a sublime vista of towering peaks and waterfalls dropping into mists of
pure emptiness. Distance is so fundamental and obvious an element of all landscape painting that it
is easy to overlook the subtleties of its expression. As discussion of the third Li Cheng attribution will
show, however, gazing into the distance is an act of cultural as well as physical perception, and one
performedmost notably by those who rode the donkey.
III. Reading the Stele by Pitted Rocks: History as Distance
ZhaiYuanshen,a nativeofYingqiu [ShandongProvince],acquireda reputationas a musicianand
excellentplayerof drums.He modeledhis paintingsafterthe landscapesof his fellowcountryman
Li Cheng,delighting in paintingscenesof peaksand ranges.One daywhile performingwith his
drumsat the governor'sbanquet,he chancedto see distant clouds rising precipitouslyupward,
just like mountainpeaks stackedone upon the other. Yuanshencranedhis neck and stood on
tiptoesgazing towardsthem. Without realizingit, he climbedon top of his drumsand the beat
wasconsequentlylost. When the governorinquired,Zhai spokedirectly,explainingeverything.
The next day the governororderedYuanshento paint, and sure enough, his mountainpeaks
possessedan abruptandawesomeforce.Peoplefoundit extraordinary.88
Although Zhai Yuanshen's paintings are no longer known, Towersand Pavilionsby Mountainsand
Streamsby Zhai's contemporary Yan Wengui serves as a good illustration of this inspired trick of
using the billowing forms of towering clouds as models for majestic mountains (fig. 14). But was the
source for this trope truly in the summer cumuli of Shandong, or was it in the landscapepaintings of
Zhai Yuanshen's teacher Li Cheng, who painted rocks like moving clouds, according to Mi Fu?89
Andpresumingthattheconnection
to LiChengis moresignificant,
wastheearlierpainter's
motive
the same?To overwhelmthe viewerwith mountainsof toweringforces?Anecdotessometimes
thatareovershadowed
providesignificantpiecesof information
by the morecuriouselementsof a
story. In this case it is not so much what Zhai Yuanshen obtains for his landscapepaintings, but the
66.
86Barnhart,"Figuresin Landscape,"
87 Barnhartcites OsvaldSiren'sreadingof Dong You'scritiquesof Li Cheng'spaintingsto presumea connectionbetweenthe artist
andChanBuddhistcircles.OsvaldSiren,Chinese
(New York,1956),vol. I, zoo. While such
Painting:LeadingMastersandPrinciples
a connectionwould have been perfectlycommonplacein the tenth century,it seems to me that Dong You's languagein these
inscriptionsis purelyrhetoricaland not basedon any specificprivateknowledgeof Li Cheng'slife. Forthat matter,Dong You's
mysticalterminologywould be equallywelcomingof a Daoist interpretation.Without a pagodavisible, can we be certainthe
templein this particularLi Chengattributionis Buddhist?Forthe Dong You inscriptionssee Guangchuan
huaba,juan4, z77, 280;
juan 6, 306-07.
88 LiuDaochun,Shengchao
minghua
ping,juan2, I34.This sameanecdoteis foundin Xuanhehuapu,juan11,121,whereZhaiYuanshen
furtherexplainsthat the toweringclouds could serveas the perfectmodel for one's landscapepainting. Anotherversionof the
anecdoteis foundin Wang Pizhi,Minshuiyantanlu,juan7, 91.
89 Seenoteno. 75.
83
mannerin whichheobtainsit - bygazingintothedistancewithsuchsingleminded
intensitythathe
climbs
his
drums
to
a
better
view.
Zhai's
actions
the
true
attraction
of
unwittingly
atop
gain
bespeak
LiCheng'slandscape
paintings:vistasof suchdepththatthe eyegazeson longafterthepathsand
cometo anend,to mountainsso distantthattheycannotbe distinguished
fromfaraway
roadways
clouds.This characteristic
of Li Cheng'slandscapesis confirmedby a famouscomparison
made
betweenhispaintingsandthoseof hismostnotedfollower,FanKuan.
FanKuanstudiedLi Cheng'sstyleandwasableto realizethe marvelsof Li'sessence.Nevertheless,
he still compareddisfavorablywith the master.Then Fan Kuan began to face the landscape
directlyin orderto forgehis ideas. He did not seek frivolousadornmentbut ratherpaintedthe
mountains'true bones.In this mannerhe was able to establishhis independenceand earnequal
staturewith Li Cheng.In landscapepaintingof the Songdynastyonly FanKuanandLi Chengcan
be consideredabsolutelypeerless.Peopletodaysaythat with Li Cheng'spaintingyou canget very
close and it still seems one thousandmiles distant while with Fan Kuan'spainting, even when
seenfromsomedistance,it appearsas if within hand'sreach.90
- after
A similar observation is attributed to the later Li Cheng follower Wang Shen (ca. O1048
thatin contrastto FanKuan'slandscapes,
LiCheng'sgiveonethe
11o4),whois citedascommenting
of lookingout overanexpanseof a thousandmiles.9,Onemightcomparethe looming
impression
massifof FanKuan'smasterpiece
Travelers
andStreams
amongMountains
(fig. 24) to the receding
mountains
andcascades
ofA Solitary
amidClearing
Mists(fig.8)to substantiate
LiuDaochun's
Temple
andWangShen'sobservations.
Anotherpaintingattributedto LiCheng,TallPines,LevelDistance
makes
the
evenmoreexplicit.Althoughthis tall hangingscrollrevealsthe
(fig. 25),
comparison
touchof GuoXi, orsomeonecloseto him,the leveldistancethemeis onethathadlongbeenassociated with the earlier master.92 The expression of distance is a key feature of the paintings of Li
Cheng's followers, from Yan Wengui to Xu Daoning to Guo Xi and Wang Shen. Even without
genuine works from his hand to confirm it, there can be little question that the expression of depth
and distance was a fundamental characteristicofLi Cheng's landscapepaintings.
Curiously, the painting that allows us to proceed a step further in understanding Li Cheng's
interest in expressing distance in his art portrayslittle, if any, physical separation.Readingthe Steleby
Pitted Rocksis limited to a foreground scene of gnarled trees, rocks, two figures and a memorial tablet
(fig. 26). What gazing takes place extends no farther than the massive stele standing on a majestic
tortoise base and topped by a finely chiseled dragon crown. This is a painting that proves difficult to
reconcile with the story it has long been presumed to describe. Resolution of this contradiction will
provide a last important piece to Li Cheng's story.
The association of this theme with Li Cheng can be dated to the late Northern Song, when two
paintings of this title attributed to the artist were in the imperial collection.93According to Zhou Mi
90 Liu Daochun, Shengchaominghuaping, juan 2, 132.
9, Han Zhuo, Shanshuichunquan
hualunleibian,676. Wang Shenpurportedlyendedhis comparisonof Li
ji, in Yu Kun, Zhongguo
Cheng'sand FanKuan'spaintingswith the commentthat the one (Li Cheng)was surelylike a scholarwhile the othercould be
likenedto a warrior.Seealso RichardBarnhart,"WangShenandLateNorthernSungLandscapePainting,"Kokujikjryu~
bijutsushi
dainikaishinpojiamu
onArt HistoricalStudies#2, Kyoto,1983),61-69.
(International
kenkyukai
Symposium
92 SuzukiKei discussesthis at some length in Chugoku
kaigashi,firstvolume (T6ky6,1981),200-10. Among the sourceshe cites is
Wang Pizhi'sMinshuiyantanlu, juan 7, 91, which commentsthat the themeof wintryforestswith a level distanceview did not
exist beforeLi Cheng.One findsamong the one hundredfifty-nineLi Chengattributionsin Xuanhehuapu,juan 11,115-17,such
titles asLevelDistanceandLevelDistance,PittedRocks.
93 Xuanhehuapu,juan II, 116.
84
(1232-98), who saw the remains of a painting with a similar title, the work was jointly done by Li,
who painted the landscape elements, and another painter named Wang Chong, who painted the
figures.94The painting that survives today is considered by most to be a later recension, probably of
the fourteenth century. A half-hidden inscription identifies Li Cheng's partner in this case as Wang
Xiao, a little-known specialist of bird-and-flowerpainting who may have been a contemporary.95
For centuries the narrativeof the painting has been presumed to concern the reading of the stele of
the filial maiden Cao E (d. A.D. o108)by the Three Kingdoms Period generalissimo Cao Cao (150Io22o).96 The source of the identification is a famous anecdote told in Liu Yiqing's Shishuoxinyu of Cao
Cao's encounter with Cao E's memorial tablet while traveling by the Fen River in Kuaiji (Zhejiang
Province) in the company of his sharp-witted assistant Yang Xiu. The tablet's text, which recorded
the moving story of how the youthful Cao E had thrown herself into the river after seeking the body
of her drowned father, was an inspired piece of writing by Handan Chun (fl. ca. A.D. 220). However,
it was not so much Handan Chun's writing that attracted Cao Cao's and Yang Xiu's attention, but a
seemingly nonsensical eight-character inscription attributed to Cai Yong (133-92) written on the
back of the stone. Yang Xiu figured out immediately that the inscription was a synonymic anagram
which translated into the phrase, "Utterly lovely, wonderful words," describing Handan Chun's
composition. Cao Cao solved the puzzle as well, but two hours later and after having continued on
their travel for some ten miles. This caused him to sigh, "Myability is ten miles slower than yours."97
The problem with this identification of the painting's story is the extraordinaryinappropriateness
of portraying Cao Cao, one of the most fearedand powerful men of the third century, as seated on the
back of a donkey, the steed of failure. His attire, as well as his mount, are much more suited for the
poor itinerant scholar than for the leader of a powerful state. Moreover, the second figure in the
painting could not possibly be the brilliant aide-de-camp Yang Xiu. This is no more than a servantlad attending to the menial tasks of his master. A second stele-reading painting, this one attributed
to Guo Xi (fig. 27) titled Regardingthe Stele,highlights the questionable nature of the association of
Reading the Stele by Pitted Rockswith the Shishuo xinyu anecdote.98 Unquestionably, this second
composition was intended to be an illustration of the story of Cao Cao and Yang Xiu. The stately
deportment of the two gentlemen engaged in animated conversation, the fierce-looking retainers,the
two magnificent horses, the regal scepter in the hands of an assistant (as opposed to the gnarled staff
held by the servant in the other composition) all point to the story of Cao Cao and Yang Xiu. Reading
theSteleby PittedRocks,in contrast, must be something different.99
94 ZhouMi, Yunyanguoyanlu, 334.Zhou Mi writesthat only one halfof the paintingsurvived;the scrollwith the figureswasgone.
Nothing moreis knownof Wang Chong.
95 Wang Xiao is sometimessaid to be fromSishui(Shandong),sometimesfromSizhou(northeastAnhui). Liu Daochun,Shengchao
minghuaping,juan 3, I43.Xuanhehuapu,juan I9, 235.I presumethat some confusionensuedin the minds of laterviewersof the
ReadingtheStelepaintings:the otherwiseunknownWang Chongmayhavebeenassociatedwith Wang Xiao,who at leastcouldbe
situatedin geographicalproximityto Li Cheng.Li Cheng,as statedearlier,wasa nativeof Shandongwho is saidto havespenthis
last yearsin Huaiyang,not farfromSizhou.
96 SuzukiKei, Chuigoku
kaigashi,firsttome, vol. one, 207-08, vol. two. notes no. 191-93.ProfessorSuzukidocumentspoemson the
ji, juan19),amongothers.
ji, juan2), andDu Jiong (1396-1474)(Du Dongyuan
subjectby KeJiusi (1312-65)(Danqiusheng
97 LiuYiqing, Shishuoxinyujiaojian,juan 2, 318-19(XI.3);Mather,293-94. The originalstele inscriptionby HandanChunis found
in QuanSanguowen,in QuanShangguSandaiQinHanSanguoLiuchaowen(Taibei,1964reprinted.),juan26, 4a-b.
98 Gugongshuhuatulu(Taibei,I989),vol. I, 237-38.I suspectthat this little-knownpaintingdatesto the earlyMingdynasty.
of the Cao Cao identificationof the donkeyriderin ReadingtheSteleby
99 SuzukiKei, perhapsrecognizingthe inappropriateness
PittedRocks,suggestsinsteadthe anagram'sauthor,CaiYong. Moreover,he questionsthe painting'sdescriptionof a barren,wintry
plain for CaoE's stele, locatedin the lush riverinelandscapeofJiangnan.ProfessorSuzukiconcludeswith the astutehypothesis
that ReadingtheSteleby PittedRocksis a painting whose roots may be in the Three KingdomsPeriodstory but whose content
85
Misidentification
of thenarrative
in Reading
theStelebyPittedRocks
portrayed
provesto beanearly
orso onemaydeducefromanobservation
thatMi Fumakesin hisHuashiof thelate
phenomenon,
NorthernSong. Listingthe manytypes of paintingsownedby wealthyaristocratsrandomly
attributedto Wang Wei, Mi Fu addsthe title Emperor
Wuof Wei(CaoCao)ReadingtheStele."'o
Why
wouldthisthemehavebeenassociated
withWangWei?Theanswer,I believe,is in thelikelihoodof
therebeinga donkeyriderin thatpainting,justas one findsin ReadingtheStelebyPittedRocks.
oneof WangWei'spaintingof MengHaoran,andstelereadingof CaoCao
Donkeyridingreminded
andtheCaoE stele.Theoverlapping
ofWangWei'snamewithMengHaoranandLiChengemerges
oncemore,andoncemoreit is MengHaoranwhoprovesto bethepivotalfigure.
Therewas,in fact,somereasonto themisidentification,
forCaoE'sstelerepresented
animportant
model that would reappearin Meng Haoran'senvironmentin the eighth century,and by
consequence
againwithMeng'sadmirerLi Chengin the tenthcentury.Thekey,however,lies not
with CaiYong'scharacter-puzzle,
but ratherwithwhatis entirelyoverlooked
in theShishuo
xinyu
anecdote- HandanChun'soriginalsteletext. SomovingwasHandan'srecountingof the storyof
CaoE, it is said,thatall whoreadit werereducedto tears.On MountXianat Xiangyang,Meng
Haoran's
of reclusion,
wasanothertear-wrenching
stele.Styled,in PaulKroll'stranslation,
landscape
theTabletof FallingTears(Duoleibei),thismemorial
stonewasdedicatedto a mannamedYangHu
(221-78),the militarygovernorwhoadministered
XiangyangsomefivehundredyearsbeforeMeng
Haoran lived in the area.,o' Yang Hu performed nothing as dramatic as the filial maiden Cao E; he
was simply a benevolent magistrate particularly fond of making outings to Mount Xian in the
company of friends. But during those outings Yang Hu proved susceptible to philosophical musings
on the ephemerality of man, and his thoughts, given presence in the stone on Mount Xian, proved as
effectively moving to those who followed him at Xiangyang as Cao E's stele in Kuaiji. Here is Meng
Haoran'swell-known poem on the subject, borrowing Paul Kroll's translation:
ON CLIMBING
XIAN
MOUNTAIN
IN COMPANY
WITH SEVERAL
FRIENDS
Humanaffairsfadein turn,eachgeneration;
Theirgoings andcomingsformingthe pastandthe present.
But riversandhills retaintheirsupassingtraces;
And ourgroupnowagainclimbsandlooksdown.
The waterebbs,andFish-weirIsle is left in shallows;
Skyturnscold, andthe Marshof Dreamlies deep.
LordYang'sstonetabletstandsherestill;
We havereadit, andtearsnowwet ourlapels.z02
Reading stelae is contemplation of the past, diaogu,reflection on the passage of history, the actions
of great people of former times, and by consequence, reflection on one's own place in history. It was a
reflectsthe story'sevolutioninto the moregenericthemeof the lofty scholarbeing emotionallytouchedby the ancienttablet.This
hypothesisis mostly correct,though the theme, as I will attempt to show, provesto be more specificthan ProfessorSuzuki
presumes.SuzukiKei, op..cit.,20zo9.
'00ooMi Fu,Huashi, 189.
1OI PaulW. Kroll,MengHao-jan,34-37. This studyconvenientlyandconciselypresentsmuchof the materialconcerningMountXian
and Yang Hu that I am citing in my text. Yang Hu's biographyis found in FangXuanling,Jin shu (Beijing, 1974),juan 34,
1013-25.
02oz"Yuzhuzideng Xianshan",MengHaoranshiji,juan I, 4a. Translationby Paul W. Kroll,MengHao-jan,35.One coupletfromthis
poemwas includedin the inscriptionon the so-calledWang Wei paintingof Meng Haoranridinga donkeyseenby ZhangJi that
wascited earlierin this article.
86
pattern that repeated itself over and over again on Mount Xian, as those who passed through
Xiangyang were drawn to Yang Hu's stele. Here, for example, is the poem of Li She, who passed
through Xiangyang early in the ninth century:
PRESENTED
TO SIKONG
DI, PASSING
THROUGH
XIANGYANG
At Fangchengandthe Han River,a pondby old city walls;I03
High banksandgulleysremain;tis the worldthatmoveson.
I stopmy horse,aloneseekingaffairsof old;
ThoseI meet speakonly of the steleon MountXian.I04
"High banks and deep gulleys" (linggu)refersto the passage of time, over the course of which hills
andvalleyschangeplaces,justasallthingstransform.
Theexpression
is derivedfromShijing(Bookof
Odes),'o5but the real reference in Li She's poem is to the military official Du Yu (222-84), who
immediately followed Yang Hu's tenure at Xiangyang, serving there from 278 until his death six
years later. Undoubtedly influenced by Yang Hu's meditations, and fearful that later generations
would forget his name, Du Yu had two stelae inscribed with a recordof his deeds. Just in case the old
adage was true, one was hidden deep in a gulley below the mountains while the other was placed atop
Mount Xian, thereby insuring that later generations would know his name.,o6 Du Yu was a celebrated figure of his time, renowned for considerablemilitary and civil achievements. How much more
susceptible to this pattern of self-reflection would be failed scholars like Meng Haoran and Li She,
who travel through a landscape of historical ruins and encounter mementos of others before them
who meditated on the passage of time?
The pattern continues, only now, those who once meditated join those of the past to become
objects of meditation. By the beginning of the tenth century Meng Haoran's fame has grown, his
place on the donkey has become fixed, his association with Xiangyang and Deer Gate Mountain
indelible. Just one generation before Li Cheng's time, the monk Qiji came through Xiangyang and
now thought not only of Yang Hu, but Meng Haoran as well: "At Deer Gate Mountain is buried
Master Meng; Mount Xian carriesLord Yang..."'o7 The association of Meng Haoran on his donkey
and Yang Hu's stele with the landscapeof reclusion at Xiangyang remained so strong for so long that
a thousand yearslater one still finds vestiges of their presence in the schematic woodblock illustration
of Mount Xian from the 1874 edition of the Xiangyang Gazetteer(fig. 28): three stelae on a ridge,
another on the peak, and three donkey riders followed by zither-toting attendants. There can be no
doubt that Li Cheng's Reading the Stele by Pitted Rocksillustrates this long-standing tradition at
Xiangyang.
The donkey rider travels to a landscape composed of historical distance. He travels, as Li She's
poem announces, in search of the affairsof old. And when he encounters the stele, he gazes into the
time-weathered stone and beyond to the models of the past. History moves one; stelae have the
Io3 Fangchengrefersto the great wall erectedby the state of Chu during the Springand Autumn Periodto protect its northern
borders.HuainanHongliejijie (Shanghai,1924),juan 4, Ib-za. The wall stretchedfromFangchengxianto Dengxian,in southern
HenanProvince,just northof the Han RiverandXiangyang.The underlyingassociationsin LiShe'spoemis with the greatbattles
that tookplacein this regionbetweenwarringhegemonsduringthe EasternZhou.
io4 Guo Xiangyangshangyu SikongDi," QTS,juan477, 5432.Note also Li She'spoem "SongWei Jiannengdong you"(Sentto Wei
Jiannengon my EasternTravel),ibid., 5432,in which he describeshimselfas a failedpublic servantleavingChang'an,riding his
"haggardhorse"throughthe easternpass.
1o5 "Shiyuezhi jiao"in "Xiaoya."JamesLegge,TheChinese
Classics(Taibei,reprinted., 1983),vol. IV, 322.
Fang Xuanling,Jin shu, juan 34, Io3I.
106
1o7 "Guo Lumen zuo" (Written upon passing Lumen), QTS,juan 839, 9466-67.
87
ability to elicit tears. One contemplates the past and thinks of oneself in the present. One considers
how others in years to come may continue the cycle by contemplating his place in history. Yang Hu
in thefollowingpassage
is apparent
beganthepatternandLiChengpaintedit. Thevitalconnection
from Yang Hu's biography inJin shu:
[Yang] Hu delighted in landscape.Eachtime the scenerywas fine he insisted on travelingto
MountXian, wherehe wouldset the wine, chatandsing poems,neverbecomingfatigued.On one
such occasionYang Hu gave a forlornsigh. Turningto his retainer,the Gentlemanof the Inner
CourtZou Zhan,and others,he said the followingwords:"Aslong as the cosmoshas existed,so
hasthis mountain.And manyhavebeenthe worthyandsuperiorgentlemenof the pastwho have,
like you and me, ascendedhere to gaze into the distance. That all of them should have been
extinguishedwithoutrumorwoundsone with grief. But a hundredyearshenceforth,if my carnaland cloud-soulsarepossessedof consciousness,they both will climb up herestill." [Zou] Zhan
responded,"Mylord'svirtuecrownsthe fourseas,his Way will continuethe wisdomof the past.
Yourreputation,yourregard- thesethings will surelyexist togetherwith this mountain,passed
down to latergenerations.But as for myselfand the others,well, then it will be just as you, Sir,
have
described.,1I?8
To judge from Meng Haoran's poems, climbing Mount Xian to gaze into the distance is to
partake in a ritual of society.I?9 Contemplating it, however, is to partake in a ritual of history, for
gazing proves to be an act of measuring not the physical separation from here to there, but the
chronological distance that separates kindred spirits across time. Gazing is a reflection of the hope
that one's own name will carryfar. Wang, "to gaze," also means "repute,""regard,"and is so used in
of distanceis a self-conscious
affirmation
ZouZhan'sresponseto YangHu'slament.Theexpression
of the point from which that distant scene unfurls, for though it may be mist-shrouded alps and
farawaystands of trees that are depicted, the true subject is the act of gazing itself. By consequence,
the expression of distance is also affirmationof the person who occupies that point in space and time.
Li Cheng made an art of gazing into the distance. Twin Pines, LevelDistance(fig. 25), a scene that
would seem to echo the experience of viewing out across the landscape from Mount Xian if not for
the forward-moving
stream,is a literalillustration.Thereis no donkeyriderhere,but his mortal
noted
be
symbolsof
indirectlythroughthepoignantcontrastofferedbytheevergreens,
may
presence
distanceso
illustrates
thecontemplated
theStelebyPittedRocks
throughmetaphor,
longevity.Reading
A
of distanceandthefunctionof thegazethatcharacterizes
vastherethattearsfall.Theexpression
whoapproaches
amidClearing
Mistsshouldbeinterpreted
similarly.Thedonkey-rider
Temple
Solitary
the smallvillagewill travelonlyasfaras the temple.Fromtherehe will lookintothedistanceand
partakein this ritual of history, exactly as he does on Mount Xian, whether confronting a far-offscene
or a stone monument. Yang Hu and Meng Haoran both emphasize the permanence of landscape to
contrast with the "goings and comings" of man. This painting crystallizes the contrast in this image
of distant peaks and tumbling cascades, suggesting in their unworldliness the ephemerality of those
who look.
io8 FangXuanling,Jinshu,juan34, Io2o. My translationis largelybasedon thatof PaulW. Kroll,MengHao-jan,34.
109MengHaorancommonlysaidhis formalfarewellsto guestson MountXian.As he wrotein his poem "XianshansongZhu da Qufei
yu Badong"(At MountXian, seeingoff Zhu the elder,Qufei,on his travelsto Badong),"Atfarewellpartingsone alwaysclimbson
high andlooksdown."PaulW. Kroll,MengHao-jan,36.
88
IV. Enteringthe Iconography
Claiming in his lifetime to have seen only two genuine Li Cheng paintings and some three
hundred fakes, Mi Fu pronounced his famous "No Li" theory (wu Li lun)."o The distinction between
genuine and pretender,at least in Mi Fu's mind, was considerable,and it led to one of the fullest,
most literal descriptionsof any of the paintingsmentionedin Mi Fu'sfamoushistoryof painting.
The scrollwas one of the few that the discerningconnoisseuraccepted,a small painting titled Pine
andRocksfromthe collectionof ShengWensu.Mi Fu'sdescriptionis valuablenot only forproviding
a sense of what it was that defined Li Cheng's genuine work, but also for revealing what it was a late
eleventh century scholar like Mi Fu may have valued in the earlier painter's art.
The trunk of the pine is so upright it could function as a great beam. The branches and leaves
provide a cool sensation of shade. He did not use circles of ink to describe the knots in the wood,
but rather applied a large dot of ink, and then to unite it went over it a number of times with
lighter shades of inkwash. This way it looks as if a product of nature. Facing it is a textured rock,
full-bodied and glistening, that rises abruptly. It reaches to the brushstrokes descriptive of the
slope. The foot of the rock is on a level with another rock in the water. Light ink was used to
describe where the water reaches. In this manner the rocks form a single group that leads [from
the slope above] directly into the water. It is not at all like the imitative efforts of the common and
vulgar, who directly apply their slanted brushes to make paintings where there is no ground
below or force to the water - they simply seem to be flying in the air. Such paintings have made
misguided critics assume that Li Cheng directly applied the brush "without any feet" [without
any firm basis of conception]. Such people have not seen his genuine works. Liu Jing thought that
genuine paintings by Li Cheng were numerous, so I showed him this Pine and Rocks.After a long
period of time he finally said, "This must be Master Cheng.""'
According to Mi Fu, Pine and Rockswas the very image of geomorphic reality. The rocks were not
randomly placed but carefully composed, following the artist's observation of the truthful record left
by nature's passage over time. To accord with this goal of capturing the landscape's true appearance
the artist adopts extraordinarily naturalistic techniques. The pine is painted in such a manner that
the brushstrokes and washes melt into a dense substance of many layers. The tree organically
develops from within, stratum upon stratum, with twisted knots that reflect nature's course through
time. In contrast, Mi Fu derides the mannered paintings of Li Cheng's followers, whose pine trees
lack Li Cheng's "stable conception," quickly done and, elsewhere he writes, in imitation of the unreal
forms of serpents and dragons."2 Mi Fu goes on to suggest what underlies the difference:
Li Cheng was a recipient of the jinshi degree and served as an Aide to the Court of Imperial
Entertainments. His son Li You served as Grand Master of Remonstrance. His grandson Li You
served as Edict Attendant to the Court of Imperial Entertainments... This makes these [followers
works] the paintings of common artisans- stuff created for food and clothing.n3
"o Mi Fu,Huashi, 191,195.The two paintingsarethe set of fourhangingscrollsin the collectionof the SuzhoumonkBaoyueandPine
andRocks,describedin the text below.Mi Fu elsewherementionsa largefanby LiChengin his own collection,whichhe describes
as "theworld'sbest,"leavingopenthe possibilitythat he actuallyknewof threegenuineLi Chengs.Huashi, I94.
In Mi Fu,Huashi, 194.
H2 Afterdescribingthe "sturdyandupright"pines in the set ofLi Chengpaintingsin Baoyue'scollection,Mi Fu informsus that they
werenot at all like the "strangeserpent-demonforms"foundin the paintingsofLi Cheng'svulgarfollowers.Mi Fu,Huashi,191.
S3 Ibid.,191.
89
ThefactthatMi Fu wasprobablymistakenin his bestowalof thejinshidegreeandan official
position to Li Cheng merely highlights the fact that essentially Li Cheng, like Wang Wei, was
regardedby the late Northern Song literati as one of their own. And so he has been regardedthrough
the later history of Chinese art, earning, ultimately, confirmationof a scholarly nature by inclusion in
that most hallowed club, Dong Qichang's southern school. Appropriatelyenough, accompanying the
dismantling of Dong Qichang's artifice in the second half of this century, the validity of the link
between Li Cheng and what emerges in later times as the literati tradition of painting has been
questioned. Li Cheng's absorption into the literati tradition is now understood by many to be a part
of the same broad effort to legitimize scholar-amateurpainting that utilized the prestigious name of
Wang Wei, first in the eleventh century and then again by Dong Qichang five hundred years later.
What this study demonstrates, however, is that far beyond one's expectations, viable links existed
betweenthecommunity
of disenfranchised
literatito whichLiChengbelongedandSuShi'scircleof
inventiveartistsandtheoristsactivein the late eleventhcentury.This is not to assumeMi Fu's
valuejudgmentsanddeprecate
theworkof "common
ashe callsthem,for
condescending
artisans,"
thisremainsblatantlyartificialandself-serving;
noris it to resurrect
and
DongQichang'snorthern
southern
schools.Butwhatmustberecognized
is thatsomeof thebasictenetsoftheliteratitheoryof
themwithsuchinfluential
force.
paintingwerewellin placebeforeSuShiandcompanyarticulated
Considerthe followingverseby Su Shi,whichall agreeservesas oneof the foundationblocksfor
literatipaintingtheory:
Thosewho discusspaintingin termsof formallikeness
Lookat paintingwith the understandingof a child.
Thosewho composepoetrythatmust be thispoem
Certainlyarenot oneswho understandpoetry.
Poetryandpaintingat roothaveone rule:
Naturalskill andfreshoriginality."4
The third line of Su Shi's poem alludes to precisely the kind of poetry Zheng Qi felt himself mired
in whileservingin thecomfortof thecapital:poetryon set themes,followingset conventions,
with
moreor less predictableresults- poetry,in otherwords,less indicativeof personalgrowthand
thanthe nicetiesof socialcommunication.
In contrastis the poetryof the donkeyrider.
expression
OuyangXiu, we arereminded,describedthe youthfulLi He composingon his steedas "never
writingpoemson a giventopic,forcinghis verses,as othersdo, to conformto the theme.""'115
Meng
Haoran'spoetryof reclusionwrittenatophis donkeyat Xiangyangwouldhavebeenconsidered
equally spontaneous. That is the implication of what is described in Travelersin a WintryForest,and
we thus discover Su Shi defining true painting in accordancewith what a painter like Li Cheng was
describing pictorially over one hundred years earlier. When Su Shi discounts verisimilitude as the
sole criterion by which quality is judged in painting, he echoes Ouyang Xiu's remarkof a generation
earlier that while things of superficial perception are easy to see, such as birds' and animals' rates of
114
Su Shi, "ShuYanlingWang zhubusuohuazhezhiershou"(Writtenaftera paintingof a cut branchby AssistantMagistrateWang
of Yanling,two poems),Su Shi shiji,juan 29, 1525-26.This is the firsthalfof the firstof Su Shi'stwo poems.It is introducedand
discussedby SusanBush, TheChineseLiterationPainting,26-27. It is alsocommentedon by KiyohikoMunakatain his reviewof
Bush's book. "SomeMethodologicalConsiderations,A Review of SusanBush, TheChineseLiteration Painting,"ArtibusAsiae
XXXVIII/4(1976),311-12.
IH5 See note no. 22.
90
speed, "relaxedharmony and solemn tranquility, feelings of far-reachingmood, are hard to
shape."'6
Travelersin a WintryForestmay employ highly naturalistic techniques (in accordancewith what Mi
Fu praisesin Li Cheng'sPineTreeandRocks),
but the veryfactthatits truesubjectis something
thatmovesMengHaoranto song,orin otherwords,feelingsof far-reaching
unseen- theinspiration
mood- suggeststhatthispaintingaccordswithwhatSuShi'sversedescribes.
Howmuchmoreso a
theStelebyPittedRocks,
andby implicationof its meanings,the literallyfarpaintinglike Reading
andSolitary
amidClearing
Peaks?
reachingTwinPines,LevelDistance
Temple
Mostintriguing,perhaps,is the patternof historicalconsciousness
thatis revealedthroughthe
of
the
rider's
We
a
discover
code
of
values
intrinsic
to thescholarclassof
study
donkey
iconography.
the lateTang,FiveDynastiesPeriodandNorthernSong,andonethatservesas a vitaltoolof selfdefinition.Assuchit is self-consciously
perpetuated
againandagain.Thedonkeyridertrotson,so to
speak, from RuanJi to Meng Haoran to Li Cheng's generation and beyond. The iconographyexpands
to accommodate new riders, but it is the constancy of the image that was significant to those who
adopted it, for it is the constancy of the values the donkey rider represents that affirms this
community of minds over hundreds of years. The most constant of those values is the fear of one's
place in history being lost and forgotten: Yang Hu's lament. And yet, curiously, by simply voicing
this concern, one combats it, as proven by the fact that what Yang Hu has always been known for is
the lament itself. The lament becomes a communal chant over time, and it becomes embodied in an
image that promises a small measure of eternity. Thus Li Dong writes, "Yearafter year someone
passes with high grades, But he does not surpassthe donkey rider who enters the painting screen.""'7
To borrow a phrase used by Ivan Morris in an entirely different context, the donkey rider represents
the nobility of failure, and that nobility is not forgotten by those who stood to gain the most from it.
The trans-temporal community of scholars, of course, is not entirely represented by the donkey
rider; he simply provides one of its more useful icons. Li Cheng, for that matter, never seems to have
been pictured atop old "long ears,"though it would appear he thought of himself as a donkey rider
through his consistent use of the motif in his paintings and the alliance that is strongly implied with
that paragon of donkey riding, Meng Haoran. Li Cheng's measure of fame is earned through slightly
different means - not as the chanter of poems, but as the painter of the landscape that elicits those
poems. In this regard one finds an entirely appropriatehomage paid by Su Shi in a verse written for
an anonymous painting he saw in the collection of his friend Wang Shen:
WRITTEN
FOR A MOUNTAIN
IN THE COLLECTION
PAINTING
OF WANG
JINQING,
WITH COLORS
ONE OF TWO
Off in the misty distance,Yingqiu,immortalof waterandink,
Floatingin the void, appearingandfading,betweenformandnothing.
Sincethen the worldhaschanged,all gallantspiritis finished;
Who now seesthe coloredmountainsof the GeneralsLi?"8
The Generals Li are the eighth-century painters Li Sixun and Li Zhaodao, famous for their
polychromatic paintings of landscape and recalled here because of the use of colors in this painting
owned by Wang Shen. Su Shi is moved by the age of the painting, by its quality and perhaps by its
116 OuyangXiu, "Jianhua"(Evaluatingpainting),in "Shibi"I, Wenzhong
ji, SKQS,juan130o,
zb-3a. SusanBush, TheChineseLiterati
onPainting,69.
117 See note no. 68.
18 Su Shi, "WangJinqingsuo cangzhuseshanershou,"Su Shishiji,juan30, 1613-14.
gi
anonymity, and he thus echoes in the third line a theme that he elaboratesin greater detail elsewhere:
the splendor of the Tang, and the pinnacles of achievement reached by Du Fu, Han Yu, Yan
Zhenqing and Wu Daozi in the arts, respectively, of poetry, prose writing, calligraphy and painting.
With these figures, he writes, all manner of human endeavorfound culmination.1•9That sentiment is
- butthelist nowincludeslandscape,
here- "allgallantspiritis finished"
andin additionto
repeated
the GeneralsLi we find Yingqiu, or Li Chengas he was occasionallycalled becauseof his
identification
with thisareaof Shandong.
SuShicreatesanotherlevelof identification
by seeingin
the landscape's
distantmountainsLi Cheng'sveryperson,recognizingin thosefloatingpeaksthe
earliermaster's
influence.
WhetherornotSuShiwasawareof themeaningsofdistancein LiCheng's
or
in
of faraway
mountains
paintings, recognized thispainting'sexpression
floatingin thevoidsome
possible connection with Yang Hu's lament, he provides a fitting compliment for Li Cheng. He
allowsthe painterto takehis placein the courseof historyby settinghim as the objectof distant
meditation:
oneof YangHu's"worthy
andsuperior
gentlemenof thepast"bywhichothers,likeSu
Shi,nowhumblymeasuretheirownmortalityandthepassageof time.SuShi'swillingnessto seeLi
of thepaintingownedbyWangShen
Cheng,immortalofwaterandink,in thecloud-likemountains
remindsus thatwithinthe culture'simagesandiconsresidethe humaneffortsthat createdand
them.
perpetuated
II9
Su Shi, "ShuWu Daozihuahou"(Writtenaftera paintingby Wu Daozi),Su Shiwenji,juan70, 22IO--II.
92
Appendix:
Dating Travelersin a WintryForestand A SolitaryTempleamid ClearingPeaks
Issuesof datingand attributionmostlyhavebeenavoidedin this studyfor fearof drawing
attentionawayfrombroaderconcernsthat transcendthe limitationsof anysinglepainting.The
arefoundedona bodyofpaintings,inscriptions,
which
presented
poemsandotherrecords
arguments
shouldovershadow
thecontroversy
thatstillattendsthestudyof earlyChinesepaintings.
collectively
On the otherhand,obviously,the argumentswouldcarryless convictionif basedon objectsof
questionableauthenticity,or if the paintingsusedbelongedto an entirelyunrelatedhistorical
context.Forthe mostpart,the paintingsillustratedhereareacceptedby a majorityof Chinese
asrepresentative
worksof thetenthandeleventhcenturies.LiChengattributions,
paintingscholars
however,presentparticular
problemsandtendto enjoylessof a consensus.Forthis reasonI have
a fewbriefcommentsthatmayassistin justifyingsomeofmychoices.
appended
ReadingtheSteleby PittedRocksandTwinPines,LevelDistanceare relativelyuncontroversial
paintingsbecausetheirgeneralthemeshavebeenassociatedwith Li Chengsincethe eleventh
century.Thetwoarelaterpaintings,andtheformer,mostseemto agree,maydatefromaslateasthe
fourteenth century, but both preserve stylistic and thematic characteristics of Li Cheng's painting
described in early literature. Travelersin a Wintry Forestand A Solitary Templeamid ClearingPeaks
have proven more divisive. This article establishes the theme of Travelersas one of considerable date
and one also employed by Li Cheng. The date of the painting, however, remains a contentious issue.
Part of the problem is an absence of hard documentation. There is a curiously small number of
collectors seals (all in the lower left cornerof the painting), and none of these has been identified."2oA
possible explanation is offered by Richard Barnhart'ssuggestion that the painting has been trimmed
on all sides."' The possibility of Travelersin a WintryForestbeing a modern forgery has been raised
recently,2zz but most seem willing to place the painting sometime between Li Cheng and the
fourteenth century. That, however, remains a considerable period of time (four hundred years), and
the issue of dating thus deservesmore scrutiny.
Arguments for the later end of this period, as summarized by Barnhart, center on the landscape
elements' general resemblance to paintings of the Li/Guo tradition by such artists as Li Kan (1245Luo Zhiquan and Cao Zhibo (1272-I355), and the figures' combination of rough, abbreviated
13zo20),
outlines in the clothing with finely detailed, fleshy faces, which has suggested to some the style of
Yan Hui (active ca. 1275-1325).13 Nothing of the fourteenth century, however, presents the
complexityof detailseenin thispainting,andasBarnhart
rightfullypointsout,thefigurestylemay
be associated with the zhanbi "tremulous brush" technique of such tenth-century masters as Zhou
Wenju (active ca.
95o-75). Mi Fu describes Zhou Wenju's female figures as possessing faces
indistinguishable from those of the Tang painter Zhou Fang, whose brush, in turn, is described as
"refined,lush, even and of intricate detail."'•4 The figures in Travelersin a WintryForest,with their
extraordinarilyfine faces and zhanbiclothing, perfectly accord with what is known of Zhou Wenju's
z22
One has tentatively been read as belonging to a Mr. Zheng.
Wintry Forests,Old Trees:SomeLandscapeThemesin ChinesePainting, 28.
James Cahill, "Chang Ta-ch'ien's Forgeries of Old-Master Paintings." Paper presented at the symposium "Chang Dai-chien and
1z3
His Art,"SacklerGallery,Washington,D.C., November22, I99I.
Seenote no. 121.
o20
121
1z4 Hua shi, 20zos.
93
style of painting. An excellent and early Zhou Wenju attribution in the National Palace Museum,
MinghuangPlaying Chess,substantiates the connection."2'An equally compelling comparison can be
made between the figures of Travelersin a WintryForestand the set of sixteen arhat paintings in the
Seiryoji Temple which are identified as being the set brought to Japan from China by the monk
Chonen in
Wen Fong associates Travelersin a WintryForestwith Li Cheng but dates it to the
987."26
early twelfth century."27There seems to me, however, little to prevent the acceptance of an earlier
date except our own natural skepticism, which bristles at the notion of a painting close in time to Li
Cheng surviving with such little notice to the twentieth century. The compelling imagery of
Travelersin a WintryForestshould be argument enough.
Disagreement surrounding A Solitary Templeamid ClearingPeaksis of a slightly different nature.
All seem to agree that the painting is early (it possesses a late Northern Song government seal),z28but
not all agree precisely how early nor its proximity to the style of Li Cheng. Presumably, the title of
the painting was adopted from the record in Huizong's Xuanhe huapu of two scrolls of the same
name.29 To the best of my knowledge, however, no other documentation exists that can tie A Solitary
Templeamid Clearing Peaks to Huizong's collection and thus to an early attribution to Li Cheng.
Suzuki Kei, suggesting some distance from Li Cheng, places it after Guo Xi.130 In contrast, Laurence
Sickman and Marc Wilson consider A Solitary Templeamid ClearingPeaks to antedate Fan Kuan's
masterpiece, TravelersamongMountainsand Streams,which was probably painted in the first decades
of the eleventh century.'3 Wai-kam Ho and Dawn Ho Delbanco have gone so far as to suggest the
possibility that the painting was done by Zhai Yuanshen, one of the close, early followers of Li Cheng
active ca. Iooo.,32 Directly in between these two camps is Wen Fong, who places the painting
between Fan Kuan and Guo Xi, circao1050o.33
Ultimately, how one dates A SolitaryTempleamid ClearingPeaksdepends on one's understanding
of the development of landscape painting over the course of the Northern Song period, and this
understanding can be based on any number of considerations, from the stylistic to the historical. We
look for the context in which the painting fits most comfortably, and with what other paintings. In
this writer's opinion, the theme of the painting, which can be described as a clearly composed journey
through a hierarchically constructed landscape, is most notable in paintings prior to Xu Daoning's
generation, many of which have been illustrated here. Stylistically, the careful, detailed approachto
125
126
Reproducedin National PalaceMuseum,Gugongminghuasanbaizhong(Taizhong,1959),pl. 51.See also Li Lin-ts'an'sarticle,
"Minghuangweiqi tu"(Minghuang
PlayingChess),Gugongjikan (specialissue #I, in honorof the seventiethbirthdayof Mr.Jiang
Fuzong,1969), 219-31.MinghuangPlayingChesspossessesthe collector'sseal of Song Gaozong(r. II27-62). Accordingto Cheng
Jufu's(I249-1318)inscription,thereoriginally'wasan inscriptionby SongGaozongas well that accompaniedthe painting.
Illustrated in Yonezawa Yoshiho and Nakata Yajir6, eds., GenshokuNihon no bijutsu,vol. 29 (Shorai bijutsu)(T6ky6, 1970), pl. 77-
Kokka754(1954),14-22.
78. Seethe shortarticleby YonezawaYoshiho,"Jurokurakanzu,"
ProfessorFong'sanalysisis baseduponan involvedstructuralmodelforthe chronologicaldevelopmentof the depictionof spacein
Chineselandscapepainting.Wen Fong,BeyondRepresentation,
note27.
79, 116-1I7,
128 EightDynasties
of Chinese
Painting(Cleveland,i980), 13-I5.Forthe argumentdatingthe sealShangshusheng
yin ("sealof the Council
of State")to ca.Io83-H26see Wai-kamHo's catalogueentryto Juran'sBuddhistRetreatbyStreamandMountainin EightDynastiesof
Chinese
Painting,15-19.
129 Xuanhehuapu,
juan11,116.
130 SuzukiKei, Chfigoku
kaigashi,firsttome, first volume, 222-23.
13, EightDynastiesof Chinese
Painting,I3-15.
132 "TungCh'i-ch'ang'sTranscendance
of History and Art," in Wai-kam Ho, ed., TheCenturyof TungCh'i-ch'ang(KansasCity,
127
1992), 26.
133 Wen Fong,Imagesof theMind(Princeton,1984),43-44.
94
describing landscape in A Solitary Templeamid ClearingPeaksfinds parallels in the paintings of Yan
Wengui and Fan Kuan. It is closest, however, to the landscape elements in another important early
painting: Waterwheelat the Sluice Gate in the Shanghai Museum, which carries the interpolated
signature of Wei Xian.,34 Waterwheel,according to Xu Bangda, dates to the Five Dynasties Period or
early Northern Song and reflects the metropolitan style of Kaifeng. If Xu Bangda's assessment is
correct, it supports a relatively early dating for A SolitaryTempleamid ClearingPeaks,probably to the
andFanKuan.Asforits tiesto LiCheng,thearguments
ofYanWengui,ZhaiYuanshen,
generation
above.
areincludedin thediscussion
134 Illustratedin Yiyuanduoyingno. 2 (1978).Anothersignature,partlylegible, was discoveredduring a recentremountingof the
painting.Seethe notesby ZhengWei, I8-I9. SeealsoXu Bangda,Zhongguo
huihuashitulu(Shanghai,I98I),93-94.
95
GLOSSARY
Baoyue ]J
CaiYong
LuYu PM
LuoZhichuan~|ill
Cao Cao •"
Cao E ~f
Cao Zhibo -•
8
Chao Buzhi
•
Chen Shidao •, i
diaogu T -
Ma Yuan Al
Mei Yaochen -f(
Meng Haoran
MiFu *M:
Dong Qichang
Dong You gI
DuFan ••
DuFu
muhuzi 7Cb
OuyangXiu
I-I
-
E(9}@
PanLang &
(iW
PiRixiu • l
pingdan
Qiji M
ER
DuYu ;~ff
Duolei bei 9• •i
5.
Fan Kuan
-I
Feng Qin ZR5
Ge Lifang AA 3
Guan Tong U rjml
Guo Tianxi 1) ?X
Guo Xi WR
Han Danchun ll•!$
HanYu i1 P,,
He Chong •-i3
Hu Gongshu iJ
Huang TingjianM.•a RE
J
Jia Dao
"
Jing Hao ~fli
Juran
,,,,
Li Cheng ?fA
Li Ding $JM
Li Dong ~i
Li Gonglin
LiHe ~t $-M
LiKan
LiShe •f
Li Song $ E
Li Sixun 'III
LiYou i@,
LiYou
5N
LiYu
IR
fti
LiYu
Li Zhaodao
LinBu
~R~ii
I
E
E M[
linggu •
.
lingsheng W:•
•
Liu Daochun EJE
_[•
Liu Jing •IJ
g
g
&
Liu Yiqing
Lu Dian f]~
Lu Yanrang l•]]•
W
QiaoKuicheng * *)
QuDing ]
Ruan Ji PiMf,
Sheng Wensu A 3Z
shi &
Song Di
LB
R
SuShi MM
SunDing RE
Sun Junze
n"iM
Sun Runfu
?
5,
Sun Sheng *,)if i
Tang Yanqian
wang -T
Wang Anshi ?E !
Wang Chong
.; ,
Wang Keyu EaTi~
Wang Shen IR•F
i
Wang Wei
Wang Xiao ?.i0
R.A
Wei Xian NtH
Wu Daozi A45IT
wu Li lun
WIF-A
Wu Rong A~till
Xu Daoning 1fjgJ
Xuanzong •'
Yan Hui
•
Yan Wengui
3Z
,
Yan Zhenqing M !X#
Yang Hu * M
YangXiu
•
Yingqiu ;
Zhai Yuanshen_c SR
•
5
zhanbi
Zhang Chou
5-E
Zhang Daqian
J•
Zhang Guolao Mr
r !, :
Zhang Ji
Zhao Gan Ef,)
M9-
96
ZhaoXinzhi fft ZZhouWenju
ZhaoYouzuo jSL
Bi fZhu
$@
ZhengQi
ZhongKui MM
ZhouFang
OBA
ZhouMi
%
f 3Z%
Jingxuan k
"
Zongwen 3Z
Zongwu &
Zou Zhan EA
97