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2 STORIES IN CHINESE PAINTINGS - By JOHN C. FERGUSON - The use of historical or mythical stories as subjects has been common both to Western and Chinese painters. InEurope painting derived for centuries its chief subjects from the story of Christianity. It is necessary to mention only a few instances. Rembrandt painted in 1627 "St. Paul in Prison" and "The Money Changer" and later chose such subjects as "Samson in Delilah's Room," "Judas," "The Baptism of the Eunuch," among many other scenes from the Bible. He preferred these subjects to portrait painting for which his patrons clamored. Velasquez chose "The Burning Bush" and "The Vision of Ezekiel" and also a Greek classical scene "The Burning of Troy." In 1648 Turner painted "The Embarkation of the Queen of Sheba" and in his earlier years "Dido Building Cartinage." This use of a subject for pictorial display has been variously estimated by critics, but it seems incontrovertible that a famlliar story depicted in a painting will touch many who remain unmoved by imaginative work which only trained eyes can appreciate. The choice of a good well-known subject cannot compen- -' sate for the lack of a fine quality of execution, hut when :. subject and execution join in making an appeal to the beholder the combined effect influences the largest number of people. In China the earliest paintings of which records remain are those which were transferred to the bas-reliefs of Wu Liang SsG and Hsiao T'ang Shan made in the 2nd Century A.D. These represent historical or legendary scenes commencing with Fu Hsi "who was the first to rule as King" and continuing with pictures of the Five Rulers, : Yao and Shun, Ta Yu who controlled the waters after the great flood, and of other noted scenes of early times which were common folk-lore when the bas-reliefs were executed. There are no traces of such traditional stories STORIES IN CHINESE PAINTINGS 111 in the decorations of the early bronzes which preceded the Han dynasty; our present information only warrants us in carrying back the use of stories as subjects to the period of these bas-reliefs, i.e., the 2nd Century A.D., but judging from the high quality of the work on these it is safe to assume that it must have had even an earlier origin. Among the first painters of whom we have literary records the use of stories as subjects was common, although not to the same degree as in Europe. Ku K'ai-chih of the 4th and 5th Century A.D. painted "Famous Women" and "Admonitions to Virtue" both of which were pictures of historical or traditional tales, but he also painted landscape as well as an imaginative sketch of the Goddess of Lo. Tai K'uei of the same period painted a landscape entitled Yen Shan. Several centuries later, during the development of national feeling in the T'ang dynasty, stories became popular as subjects, and in addition to those based upon history or tradition the new element of religious subjects taken Yroni Buddhist and Taoist sources was introduced. It is the purpose of this article to bring together some of this class of paintings and to present briefly such information as is available from history or tradition concerning the stories on which the subjects are based. These paintings will be mentioned as far as possible according to the chronological order of the stories depicted, rather than of the times when the artists flourished. Many of these stories may be found in A Chinese Biogmphical Dictionary by Dr. Herbert A. Giles (Shanghai, Kelly & Walsh), to which hook the reader is referred. yu WANG DRAINING THE WATERS OF THE GREAT by Chao Po-chii (a fh m), Sung Dynasty. Yu Wang, generally known as the Great Yii, is reputed to have been the son of Kun who undertook the task of draining the Empire. He was condemned to death for failing in his great work and his sou Yu was appointed to succeed him. In nine years the work was finished, and during that time Yu devoted himself without stint to the enterprize. One part of his work was the opening of a passage for the western waters through the present defile of Wu Shan in the province of Szechuan. He is said to have died B.C

3 112 STORIES IN CHINESE PAINTINGS THE DELIVERY OF THE GREAT PLAN t!ket2%b by Chao imbng-fu (B Z B), Yuan Dynasty. This picture depicts Chi Tzii handing his book The Great Plan (84 B) to Wu Wang, the founder of the Chow dynasty. Chi Tzii was a Minister of the last sovereign of the Shang dynasty, the infamous Chou Hsin (N +). On account of his protests against the misrule,of the sovereign he was thrown into prison, where h ~s hfe was preserved on account of his feigning madness. When the Shang dynasty was succeeded by the Chow under Wu Wang, Chi Tzii was released and in an interview with his new sovereign he presented Wu Wang with 8 copy of the "Great Plan" of government which had been originally given by Heaven to the Great Yu. This "Great Plan" is said by the author of the Complete Digest of the Book of History to be "the great model for the government of the empire." On account of his havlng delivered this valuable treatise to Wu Wang, Chi Tzii was appointed King of Corea. THE FESTIVAL OF WANG MU AT YAO CH'IH Xi%$%& by Chao Po-chii (@ fe m), Sung Dynasty. Wang Mu is the abbreviated name of Hsi Wang who is the head of female immortals with her residen in the mountains of K'un-lun (P B). She held cou surrounded by a large company of immortals in h garden where grew the peaches of immortality ripen only once in 3000 years. Here she was by the fifth sovereign of the Chow dynasty, Mu, who had driven thither in his chariot drawn by h horses famous for their speed. Hsi Wang Mu ente the sovereign at Yao Chih (the Lake of Gems). picture presents the legendary scene of his entertainme THE RETURN OF DUKE W ~ N %+?Ca@mB by Li T'ang (Ip. E), Sung Dynasty. The name of Duke W6n before receiving his ti was Ch'ung Erh. His father was Duke Hsien of the. Chin State, who was under the complete mastew Of' concubines. At the instigation of one of them his fathm sent a eunuch to kill Ch'ung Erh but he made good h?8 STORIES IN CHINESE PAINTINGS 113 escape and fled. After several years of wandering among barbarian tribes on the northern frontier he returned home in B.c. 634 and succeeded his father as Duke, taking the name of Wen. He is reputed to have become a wise and humane ruler. On account of his ability he became the second among the Five Chieftains (5 %) who ruled the country during the last years of the Chow Dynasty. This picture portrays his home-coming. h % B by Li Kung-lin (Ip. S), Sung Dynasty and Ch'ien Hsiian (@ Q), Yuan Dynasty. The Nine Songs are a part of the famous poem Li Sao, or Falling into Trouble, which was composed by Ch'ii Yuan, B.C , after having been dismissed from high office on trumped up charges. Later the poet committed suicide on the 5th day of the 5th moon, and the Dragon-boat Festival celebrated on that day is in memory of him. The poem is an allegory describing the search for a good prince who will administer a good government. The first scene is that of Tung Hvang T'ai I, a god of the ancient kingdom Ch'u; the next is that of Yun Chung Chun, the god of the clouds; the next is that of Siang Chun, the father of the two women, Siang Fu-j&n, who are depicted in the next scene. These two women have been much discussed in the literature of China, but are generally supposed to represent the two sisters who became the wives of the ancient Emperor Shun. The next three scenes are of Ta Ssii Ming, Hsiao SsC Ming, and Tung Chiin, all of them being deities of the Ch'u kingdom, which is the country included in the modern provinces of Hunan and Hupeh. The next scene is that of Ho Po, the old man of the river; this is followed by Shan Kuei, the god of the hills. The picture of Kuo Shang, the martyr, is very striking and forms a good endlng to this scroll, though another scene-that of the sacrificial spirit, Li Hun, might have been added to complete the tale. f t l T 3 S by Wang ChZn-p'Zng (5 i~ a), Yuan Dynasty. Po Ya who lived during the last years of the Chow dynasty was an expert player of the lute (harp). His 8

4 114 STORIES IN CHINESE PAINTIPJGS most intimate friend was Chung Tz5-ch1i who was not only an expert player but also an apprec~ative hstener. When Chung died, Po Ya gave up playlng, for in his opinion there was no one left to understand his muslc. CHANG LIANG AND THE SLIPPER % & H E by An Artist of the Sung Dynastv. Chang Liang was the Prime Minister of Han (Ek! which is the modern city of Han Ch'6n (a %) in Shensl province. This small city was conquered by Lii Chag who later succeeded in conquering all of the other syll states and making himself the first emperor of the Ch dynasty and becoming known in history as Ch'in Shih Huang. Chang Liang mourned the downfall of his State and cherished a deep desire for revenge upon the conqueror. Being a man of frall health he knew that it would be impossible for him to assassinate the Emperor by the use of his own physical strength. He, therefore, decided to sell all his property and even leave,his brother unburied in order that he might use all ava~lable funds for collecting a band of strong men., When the conqueror was taking a trip through the wild,country called Po L~~~ shs ( ) one of Chang Liang's band threw a huge iron bar at one of the chariots. This smashed the carriage into pieces and killed the occupants, but it did not prove to be the one in which the conqueror himself was traveling. Orders were issued at once fqr the apprehension of all the persons responsible for thm plot, among whom Chang Liang was mentioned by name- He fled into Kiangsu where he was kindly received on account of the harsh treatment with which the Conqueror was treating every part of the country. Here.chaw Liang lived for several years and it was during this, tl,me that on one of his journeys he met an old man slttlng on a small bridge. One of the shoes of the pld man had slipped off and he asked Chang Llang to pick it UP for him. Trained from his youth to respect old age, Chaw Liang suppressed his first feelings of resentment at such a request from a stranger and not only condescended to pick up the shoe hut also insisted on performing an additional act of courtesy by putting it On the foot of the old man. The old man praised him for his act and said that he was worthy of being taught. He thereup STORIES IN CHINESE PAINTINGS 125 produced a book which is generally known as Su Shu (a ib 1 and told Chang Liang that if he studied it with due diligence it would be of great assistance to him in accomplishing great results. The name of the old man 1s reputed to have been Huang Shih-kung ( 3 5 & ). He disappeared and nothing more was ever heard of him, but Chang Liang profited by his study of the book and was later able to assist Liu Pang (a1 R) in uprooting the Ch'in and founding the Han Dynasty. This picture shows Chang Liang in the act of placing the shoe on the foot of the old man, - During the reign of Ch'in Shih Huang imperial orders were issued for the burning of all books and the killing of all scholars who would not submit to the dictatorship of the Emperor. Four old men, famous for their learning and high character escaped the disaster and fled to the Shang mountains where they lived a secluded life. After the fall of the Ch'in and the establishment of the Han dynasty, the Emperor Kao Tsu, B.C ,?&.for these old men and offered them high positions In his government, but they refused to come to Court. Toward the middle of his reign, Kao Tsu came under the ulfluence~f one of his concubines who plotted to have her son appointed Heir Apparent in place of the eldest son. A! this time Chang Liang was the most influential mlnlster of state and he was well-acquainted with these four old men. Without the knowledge of the Emperor he persuaded these greybeards to become companions of the Emperor's oldest son and to instruct him in matters of State. One day the Emperor came upon his son in the company of these four old men and was greatly surprised to find that after refusing his invitation they had subsequently come to Court to teach his son. He asked them for their reason and they said that they were convinced that the Pr~nce was a young man of high promise and worthy of his position as successor to the Throne. As a result of this incident the Emperor decided to abandon the plan of substituting the son of his concubine for his own legitimate heir.

5 116 STORIES IN CHINESE PAINTINGS STORIES IN CHINESE PAINTINGS 117 WANG CH'IANG SETTING OUT FOR THE BORDER the matter and they found that the reports were true. E E % % % One when these officers were making a trip in the cou?try, they saw a pheasant near a young boy and upon asking him why he did not kill it the boy replied that It was not right to kill a pheasant during the breeding on them return'to the capital the offcers reported the three wonders of the administration of L~ K ~ (1, ~ ~ : that no hcusts had entered his district, (2) that the birds and animals of the district were tame on account of the good treatment that they received from the inhabitants, and (3) that even small boys knew how to treat lower an'mals kindly. AS a result of this report L~ K~~~ was later Promoted to be Minister of Civil ~ f f ~ i ~ ~. Han THE BIG TREE COMMANDER H % g by An Unknown Artist. FGng 1, who died 34 A.D., was a noted general of the who opposed Wang Mang. He was a modest man who never boasted of his achievements and always gave precedence to other generals. Although noted for his distinguished achievements he always disclaimed for them and when other military leaders assembled af?er victories to boast of what they had done, ~s~~ I quletly withdrew from them to a distance where he near a big tree. For this reason he became known by the nickname of "The Big Tree General." H~ treated and was amazed t with SO much consideration that when it was any woman he had ever seen. Proposed to make a redistribution of them among the promise which he had made to different generals all the soldiers shouted that they to his great sorrow was oblige wanted to be attached to "The Big Tree ~ ~ ~ ~ ~ ~ l!, to start on her long journey. scene of her departure. YUAN AN SLEEPING THE THREE WONDERS OF LU KUNG by wang Chin-p'ing (3 LU Kung was the magistrate of Chung. during the reign of the Emperor Chang n, of the Han dynasty. At th was suffering from a plague the crops. It became known district under the charge Of by this plague and special offi IN snow %%lag by Chou Fang (B@), Tang Dynasty and Win ching-ming f % P; m), Ming Dynasty. lived Yiian in An was a scholar of the 1st Century A.D. H~ Loyang and was very poor. One day there was a snowfall and the magistrate made a circuit of the the to see if any of his people were suffering from snowfall. On passing by the door of yiian the magistrate was surprised to see that the door was blocked by snow and that there was no slm of life inside the house. On entering the house

6 118 STORIES IN CHINESE PAINTINGS he found Yuan An lying in his be him why he did not get up. Yuan An better to stay in bed during such a he to get up and make trouble for othe their conversation the magistrate per standing the poverty of the man he had In due course Yuan An was recommended t and was appointed to an official positlo reign of the Emperor Ho Ti, A.D., he became Minister of Instruction and gained a reputation for his ability and honesty. THREE VISITS - z m m by Tung Chan ( S E), Sui Dynasty. During his early life Chu retirement, devoting his time of his friends, Hsu Shu (t& Liu Pei as being a hundred Thereupon Liu Pei, together brothers, Kup Yii and Chang Liang's house, but were not receiv This time, upon their arrival, Chu a nap and they were obliged to w impatient and suggested that they set and force Chu-ko Liang to come out, b was opposed by Liu Pei and Kuan Yu. arose and after a long conversation wi to abandon his lonely life and become the Liu Pei. It was due in a large measure to and military skill of Chu-ko Liang that Li established the State of Shu in Szechuan. CHU-KO LIANG'S EXPEDITION AGAINST THE SOUTH %SE@E@l by Ch'ien Hsiian (8: a), Yiian Dynasty. Chu-ko Liang was both a statesman and a warrior. After assisting Liu Pei to establish, the-state pf Shd in Szechuan he encouraged Liu Pel In hls ampbon to dominate the other two states of The Three Kingdpms, viz., Wei and Wu. Liu Pei claimed to be the lmd descendant of the royal family of the Han Dynasty and this encouraged him in the belief that he could overthrow the other two states and re-establish the Han Dm&'. STORIES IN CHINESE PAINTINGS In order to prepare for this great undertaking it was necessary for Liu Pei to bring into subjection all the tribes on the borders of Shu so as to leave no enemies at his back whilc he was attacking Ts'ao Ts'ao of Wei and Sun Ch'uan of Wu. Before anything could b? done Liu Pei had died. His son ordered Chu-Ro Liang to undertake an expedition against the southern tribes. Though the campaign was commenced in the summer time and travel through the mountainous districts was very difficult Chu-ko Liang set out on his journey and finally captured the barbarian chieftain MSng Hu. This picture shows Chu-lco Liang with his men crossing the LU River on their way to the South. The Lu River is one of the small tributaries of the Yangtze in Szechuan. WEN CHI RETURNING TO HAN H B by Yen Li-p2n (Ri I? *), T'ang Dynasty. WSn Chi is the literary name of Ts'ai Yen (2% W) the beautiful daughter of the distinguished scholar of the Han Dynasty Ts'ai Yung. During one of the inroads of the northern tribes she was taken prisoner and carried off by the Tartar Chieftain. During her stay in the.mongolian wilds she wrote a song called "Eighteen Melod~es" in which she told of the grief of her lonely life. She was finally ransomed by the Prime Enister Ts'ao Ts'ao, an old friend of her father's, and brought back to her own country. This' picture shows W6n Chi on her return journey. THE LO RIVER GODDESS n m by Ku K'ai-chih (M r;t 2), Chire Dynasty and CXW Yung Yuan Dynasty and Wgn C1~6ng-rning ( X i2k ), Min.q. D~nastv According to the History of the Han dynasty Fu Fei (a $E), daughter of the lengendary Emperor Fu Hsi, drowned herself in the Lo river and became the "Goddess of the Lo River." This early tradition was changed at a later date on account of the poem written by Ts'ao Chih ( A.D.), third son of Ts'ao Ts'ao, as an expression of his grief over the death of the Empress ChSn (% E). In her youth this Empress was considered to be unusually

7 120 STORIES IN CHINESE PAINTINGS STORIES IN CHINESE PAINTINGS beaut!ful and remarkably intelligent. She became the wife of one of the sons of Yuan Shao but was captured by Ts'ao Ts'ao and taken to his Court. When his son Ts'ao P'ei, later known as the Emperor WSn Ti, saw her he became enamoured with her charms and made her his wife. She bore him a son who afterwards succeeded his father as third Emperor of the Wei dynasty and is known as Ming Ti. Ts'ao P'ei was fond of his Empress for several years but later yielded to the charms of his other consort Yuan Hou (K E) who started calumnies against the Empress Chen. Ts'ao P'ei became enraged at the alle~ed misconduct of his Empress and ordered that she should be put to death. Her honors were, however, posthumously restored to her by her son, the Emperor Ming Ti. After her death her brother-in-law, Ts'ao Chih, who was also a secret admirer and had hoped in his youth to s cceed against his brother in winning her for his wife, &ote a poem in her praise when he was on the banks of the River Lo. This poem was originally called Kan Chen Fu, z.e., '" Poem in honour of ChGn," but the title was later changed by her son, Ming Ti, to LO Shen Fu, i.e., "A Poem in honor of the Lo Goddess" and it is from this poem and not from Fu Fei that this,picture talces its name. This famous woman was admred by four members of the Ts'ao family, viz., her father-in-law, her husband, her son znd her brother-in-law, of whom three were Emperors; and this was after she had been previously married to the son of Yuan Shao, another most prominent character in the time of the Three Kingdoms. TEE SEVEN WORTHIES OF CHU-LIN $% 45 5Pf by Chao Mhng-fu (B X R), Yuan Dynasty and Ch'ien Hsiiau (S2 %), Yuan Dynasty. Chu-lin was a place of which the exact locality is at present unknown. Here the philosopher Hsiang Hsii, the alchemist Chi K'ang, the wine-bibber Liu Ling, the eccentric Shan T'ao, the rollicking Yuan Hsien, the carefree YuanChi and the parsimonious Wang Jung gathered. They sang, read, played the lute, drank wine and composed poems. Fond of learning, they also loved an outdoor life. The Seven Worthies formed a jolly band of savants. a),... - by Ma Yuan (.% Sung Dynasty. The great calligraphist of the Chin Dynasty, Wang Hsi-chih, A.D., was inordinately fond of geese and kept a large flock of them in a pond which he had made especially for this purpose. For hours he would watch the motions of the head and neck of a goose, admiring the graceful curves. These curves suggested to him the beauty of line which he produced in his own handwriting. by Chao MZng-fu ((i k R) h a n Dynasty. +n T'ing is situated about nine miles southwest of the city of Shao Hsing in Chekiang province. at this spot that the great calligraphist, Wang Hsi-chih, It was (3 iki 2) A.D. of the Chin dynasty gathered his group of forty-one friends on the third day of the third month of the ninth year of the Emperor Yung Ho (347~.~.) for the purpose of celebrating the ancient rite of driving out evil Influences %? R. A plentiful supply of wine was provided to aid their worthy endeavours, and this was stored jars. The group was seated along the banks on elther side of the winding stream while servants filled small goblets with wine and placed them in the current. As these were seized by the eddies and hurried to the banks it was the duty of the one seated nearest to the goblet to grab it and drain its contents. It was a merry game.and it stirred the emotions of the guests. On th~s occaslon Wang Hsi-chih wrote a poem commemorative of the occasion, and the script in which it was written, the Lan T'ing T'ieh (IIB S O&), is the most famous in the long history of Chinese calligraphy. HSIAO I FILCHING THE LAN T'ING WRITING axbeiza$ by Chii-jan (E B), Sung Dynasty. The first emperor of the T'ang Dynasty T'ai Tsung pl?nn,ed to collect, and preserve all of the writings and paintings of dist~nguished men previous to his time. Among these he was especially fond of the handwriting

8 122 STORIES IN CHINESE PAINTINGS of Wang Hsi-chih and collected all of his writings that could be found. Hearing that the famous Lan T'ing T'ieh was in the possession of a priest named Pien Ts'ai who lived in Chekiang, he sent for the priest to come to Court. The priest was treated with great courtesy but when asked about the famous writing of Wang Hsi-chih he disclaimed all knowledge of its whereabouts, although he acknowledged to have seen it once in the hands of his teacher Chih Yun. The priest suggested that it had probably been lost during the long period of warfare between the close of the Sui and the rise of the T'ang Dynasty. Three visits of the priest to the Palace failed in disclosing the location of the writing and the Emperor decided to adopt other tactics. He sent a high official of his Court, Hsiao I, to Chekiang with instructions to secure this writing. Hsiao I disguised himself under another name and went to the temple, where Pien Ts'ai resided, in the r81e of a scholar. Through their discussion of various literary subjects Hsiao I and Pien Ts'ai became fast friends. One day when discussing calligraphy HsiaoI showed the priest several examples of the writing of Wang Hsi-chih which he had taken with him from the Imperial collection. The two men discussed the fine points of the writing of the great calligraphist and Pien Ts'ai insisted that none of the writings which Hsiao I had with him could equal the best work of Wang Hsi-chih. In order to prove his point he said that he would show him an example left to him by his teacher Chih Yun and which he had since kept carefully hid on a beam in the roof of his room. He produced the Lan T'ing T'ieh and showed it with great glee to Hsiao I. After exammnp it carefully to see that it was correct, Hsiao I placed & in his pocket and produced the order of the Empe~. The picture depicts Hsiao I in a state of great grabfication and Pien Ts'ai, the priest, with his mouth open in blank astonishment. T'AO CH'IEN ENJOYING CHRYSANTHEMUMS r@?bb% by Chao Ling-jang (a.4 m), Sung Dynasty. This great poet loved chrysanthemums more than any other flower and set apart a special place in his small garden for their cultivation. As this flower blooms late in the autumn when other flowers are not hardy enongh to stand the cold, it seemed to the poet a simile of men.. STORIES IN CHINESE PAINTINGS 123 who do not care for riches but retain their good character in the midst of temptation. This picture shows the poet in his garden of chrysanthemums. HOME AGAIN B%%@IBl b2/ Li Kung-lin ( 6 & B), Sung Dynasty and Ch'ien Hsiian ( P1: B)... Yuan - nynasty. The title of this picture is taken from the subject of a poem by T'ao Ch'ien, ( A.D.), who is more generally spoken of as T'ao Yuan-ming. This poet was a bqilliant student in his youth but being without a patrimony he was obliged to seek a position under the government in order to support himself and family. He only held his post for a few days when he resigned and returned to his work in the fields as a farmer. Later he was appointed the Magistrate of P'6ng-tsS in Kiangsi province but remained there only 83 days when his loneliness caused him to decide to return home to his wife and two sons who lived in a thatched house on the bank of a stream where grew five willow trees. This picture represents T'ao Ch'ien in a boat crossing the river. His wife and children are at the door of his home waiting for him. THE SOURCE OF PEACHES l a chao Po-su (8 fe Hi),Sung Dynasty and Ch'ien Hsiian (@ %I, Yum Dymty. This picture is based on a narrative by T'ao Yuanming. According to T'ao the story runs as follows. During the reign of T'ai Yuan AD., Chin dynasty, a fisherman, while following a stream on his boat, reached a point where both banks were covered with peach-trees. It was in spring time and the ground was covered with the beautiful blossoms. Suddenly the stream ended at the foot of a mountain. Strange as it was, there was a big cave at the foot of the mountain and in looking into it he found that he could see light. He tied up his boat and went in. At first it was so narrow that a man could scarcely pass but gradually it became wider and wider unt~l at last there was an opening where he found a new world. The general appearance of the place was the

9 124 STORIES IN CHINESE PAINTINGS same as the outside world; there were houses, cows, chickens, dogs, and farmers working in the fields. They were surprised at the appearance of a stranger and they all came to him with eager quest~ons. They told h~m that they were people of Ch'in dynasty, B.C , and that they had come to this place to seek refuge on account of the bad treatment of the Ch'in Emperor. They had no knowledge of any change of dynasties and were amazed when told by the fisherman of the Han and Wei Dynasty and that the country was then under the rule of Chin. The people kept him there for several days and upon departure told him not to tell the outside world of them. He came out and found his boat where he had left it. This fisherman was so keenly interested in his discovery that on his way back home he made marks alongside the stream so as to be able to retrace his steps. Immediately upon arrival he reported it to the magistrate who sent men to accompany him to the place, but this time the fisherman could not find out the way and all the marks which he had made were lost. He came back disappointed. However, news of the discovery was spread abroad and in Nanyang there was a scholarly man named Liu TzG-i, who immediately arranged to start off to find this place himself hut who died before he was able to make his preparations for departure. After this no other attempts were made to find the place. ACROSTIC +%f%a?z!a by Chou W6n-ehu (El?t s), Sung Dynasty. This scroll depicts the romantic tale of Su,Yo-Ian, wife of TouT'ao. a General of the Anterior Ch'in k~ngdom. She was married to this man in her youth and proved to be most helpful to him in his public career. Before he was transferred to a distant post he had become infatuated with another beautiful woman, Chao Yang-t'ai, whom he took with him on his long journey. His wlfe, Su Yo-lan, repined the loss of her husband's love and determined to show her devotion by weaving with her own hands an acrostic in which she could express her feelings.of devotion. Upon hearing of her faithfulness the General sent messengers to bring her to him. It is the partlug of the husband and wife and their later reunion that are recorded in this scroll by Chou W6n-chu. The acrostic attached to the scroll was written by Li I-an, also of the Sung dynasty. STORIES IN CHINESE PAINTINGS HSIEH AN PLAYING CHESS by Wang We< (E %), Tang Dynasty. Hsieh An was a Prime Minister in the Chin Dynasty. At that time the northern part of the country had all been occupied by Tartars and the Chin Empire had to content itself with that part south of the Yangtze. When it was reported that Fu Chien was invading the Chin Empire and had at his command a million men, the whole empire was frightened and nobody knew what to do as it seemed absolutely impossible for the Chin with a far less number of soldiers to stop the advailce of Fu Chien. As the result of a conference, Hsieh An was appointed Commander-in-Chief of the Army in charge of the national defense. The total number of men available at that time was not more than fifty to sixty thousand. But Hsieh An did not seem to be afraid of the dangerous situation. After the conference, instead of going to arrange matters for the defense, he drove to his country house and collected a huge crowd of friends and relatives and when his nephew, Hsieh Hsuan, a general, came to see him regarding military matters, he had him play chess with him, and pledged the house for the contest. Hsieh An's ability in chess playing was inferior to that of his nephew, but on that particular day, Hsieh Hsiian being uneasy on account of the dangerous situation, he won the game. At this, he turned to his cousin, Yang T'an, and said "I give the house to you." He stayed there for a whole day and only returned at night and appointed generals for the defense. Not long after that Hsieh Hsiian and other generals managed with their small army to defeat Fu Chien and a report of this unexpected event was sent to the Commander-in-Chief, who was again found playing chess. When he had read the report, he dropped it on his bench. Without saying a word, he continued his play as before. His guests, of course, did not know what it was about and quite naturally asked what the despatch said, and quietly he answered "The boys have defeated the enemy." But when the play was over, he could not hold himself any longer. He rushed to his room but failed to notice the door-sill and stumbled over it.

10 126 STORIES IN CHINESE PAINTINGS THE -2% by Su Hun-ch'in (8f Z E), Sung Dynasty. Liu Tsung (died 318 A.D.) was the son of Liu Yiian who proclaimed himself the first Emperor of a new Empire. On the death of his father he seized the throne after killing his eldest brother: He planned to build a palace for his Empress, Liu E (a ti? ), but this was strongly opposed by his statesman, Ch'sn Yuan-ta (a%&). This greatly offended Liu Tsung, who ordered the states- man to be executed. However, the statesman knowly beforehand what was to happen to him, Came mth a chain, and upon hearing the order of the Emperor to have him executed, bound himself to a tree in the Court yard. He hung on to the chain so tightly that lt Was impossible for the moment for the attendants to drag him out for execution. In the meantime other officials begged the Emperor for his pardon. AS soon as the Empress heard of what was happening she presented herself before the Emperor and pled, for the life of the statesman, saying that he was qulte right in what he had said. She further told the Emperor tha? if a statesman were to be executed on account of critlclzlng her extravagance in allowing a palace to be built for her Pleasure she herself would be blamed by all future generations. She begged that the Emperor would either grant her request or order her to be put to death instead of the statesman. This moved the heart of the Emperor and Ch'&n Yuan-ta was released. LI MI SUBMITTING TO CH'IN WANG 5EEa%E by Li Kung-lin (Z+ te E), Sung Dynasty. Ch'in Wang is a youthful tit1.e by which, the real founder of the T'ang dynasty, Li Shlh-mm, 1s still known. In history this Emperor is known as Tfai Tsung. Li Mi ( A.D.) was an able and ambltlous man ~f the same period who inherited from his father the title of Duke. He denounced in his, pamphlets the crimes of Li Yiian, the father of Li Shih-min. At the same, time he fought against the upholders of the Sul dynasty in the hope that he himself might become the emperor of a new dynasty. Later, when Li Shih-min became emperor he? STORIES IN CHINESE PAINTINGS raised the standard of rebellion against him, but being unsuccessful submitted to the new Emperor and had his title of Duke confirmed. This picture represents Li Mi acknowledging the sovereignty of Ch'in Wang, i.e., T'ai Tsung. i - F A % - + by Yen LiMn ((WI 2 *), T'ang Dynasty and Emperor Hui Tsung z), Sung Dynasty. T'ai Tsung of T'ang dynasty formed a National Academy to which he appointed men of ability and learnlng from all parts of the country. From the large number of members he selected eighteen on whom the high title of Hsiieh Shih (Distinguished Scholar) was conferred. These were Tu Ju-fei, Huang Yuan-lin, Yu Chih-ning, SU Shih-ch'ang, Hsieh Shu, Ch'u Liang, Yao Ssij-lien, Lu TBming, K'ung Yin-ta, Li Hsuan-tao, Li shou-su, Yii Shih-nan, Ts'ai Yun-kung, Yen Hsiang-shih, Hs" Tsung-chin, Hsieh Yuan-chin, Kai Wen-ta and Su Hsu. Later, Hsieh Shu died and Liu Hsiao-sun was appointed in his Place. Yen Li-pEn was ordered to make portraits of these eighteen scholars on a scroll and Ch'u Liang was,ordered to make an annotation giving their names, ofhclal ranks and birth places. This scroll was then deposited in the Imperial Library. This gave high honour to.those scholars and they were so admired that people sad that they had already entered the "fairy land," i.e., paradme. THE GAME OF POLO sasfga@e by Li Rung-lin (* itf a), Sung Dynasty. This picture depicts the famous Ming Huang, sixth Emperor of the T'ang dynasty, and his consort, the still more famous Yang Kuei-fei, at a game of polo. Ming Huang surrounded himself by a large group of distinmished scholars and poets who joined him in all forms of revelry.,more and more he neglected his public duties under the Influence of his consort. He took a great interest in the game of polo and this fact has been commemorated in a well-known poem which refers to his returning drunk from a game of polo, speaking of

11 128 STORIES IN CHINESE PAINTINGS him under the familiar name of San Lang, which was popularly given to him on account of hls h ew the third son of his father who preceded him as Emperor. by C ~OU T'AI CHEN MOUNTING HER HORSE A S l E ~6%-chii (W % %), Sung Dynasty and Ch'ierc Hsuan (Sg B), Yuan Dynasty. T'ai ChCn is the name which was given to Yang Kuei-fei at the time when her influence at Court was greatest. The extravagance and luxury of her court has never been equalled in the long line of Chinese Pistory. Her three sisters were given titles and her cousin Yang Kuo-chung was made one of the leadlng mlnlsters of state. The people were over-taxed in order to malntaln the frivolous life in the palace. Many protests were made by faithful ministers, hut without avall, until final!y a general insurrection broke out under the leadership of An Lu-shan. The Emperor was obllged to flee and decided to go to Szechuan. His consort Yang Kuel-fel showed her faithfulness by being willlng togo with h~m. This picture depicts her in the act of mountlng her, horse ready to commence the long ill--fated Journey in the midst of which she was murdered before the eyes of the Emperor at the behest of his mutinous troops. A MUSICAL by Ch'iu Yin (h%), Ming Dynmty and T'ang Yircg (a E), Ming Dynasty. The name of this picture is taken from a famous poem by Po Chii-i of the Tang dynasty. It was composed while the poet was occupying the pos1tio.n of magistrate at Hsin-yang in Kiangsi province to whlch he had been degraded from an important office in the capital on account of being disliked by the prlme minister. Hsinyang was a small city where little occurred to relieve his depression of spirits. One night when he was blddlng farewell to a friend on the bank of the river he suddenly heard the sound of the guitar! p'i-p'a: He had never heard this instrument during hls days in this small city and the sound carried him back to his former happy days in the capital. He inquired at once as to who the person STORIES IN CHINESE PAINTINGS 129 was that played the guitar and found that it was the wife of a small merchant living in a boat. He and his friend went at once to the boat and asked her to play again. After complying with their request they discovered that she had formerly been a sing-song girl and had enjoyed great popularity in the capital. After losing her beauty she had became the wife of a small merchant who frequently left her alone on the boat while he was away on business. During her lonely hours she often dreamed of her early days and wept for sorrow. This conversation made the poet think of himself and he composed the poem from which this picture takes its name. Lu T'UNG STEEPING TEA B 4 X & by Liu Sung-nien (Bil 82 *), Sung Dynesty and Ch'ien Hsiian (P31 B), Yuan Dynasty. Lu T'ung was a scholar and poet of the T'ang Dynasty who lived at the close of the 7th and the beginnlng of the 8th Century A.D. He was pupil of the famous scholar HanYti who praised his poetry. His most famous poem was on tea drinking in which he described his own fondness for the beverage. This picture shows him preparing his cup of tea. AN ENTERTAINMENT AT T ~NG WANG PAVILION EZMS@fB by Chao Po-chu (B m), Sung Dylaasty. This picture depicts a scene at Nanch'ang in Kiangsi Province, during the early years of the Tang dynasty. In this city there was an ancient pavilion named in honor of T'Cng Wang, son of the founder of the Han dynasty, On the completion of the extensive repairs to the pavilion which had been carried out under his orders the viceroy gave a large banquet to the leading men of the city. Wang Po had arrived at the city on the morning of the banquet and accompanied a friend to it. During the feast guests wlth poetical talent were invited to write poems in commemoration of the occasion. Without any hesitation Wang Po accepted the invitation, much to the surprise and dlsllke of the viceroy who did not know him. After reading two llnes of the poem the viceroy remarked that this man had a divine amatus. This production of 9

12 130 STORIES IN CHINESE PAINTINGS STORIES IN CHINESE PAINTINGS 131 wang po was a]] the more rema Military Governor of the adjoining district of ~ ~ ito - ~ ~, that he had only attended the banquet ust her master from his position. Seeing that her master was on his way as a fugitive fro as greatly frightened she disclosed to him the fact that to join his father in the wilds of the she possessed unusual Powers of magic and that she could had been banished. During the nig of great assistance to him. During the following night banquet strong wind had sprung ah vanished into the air carrying a dagger boat at a furious rate until morn her. himself at NanchCang Wang PO is Her master Hsieh Sung waited for her return until the Four H~~~~~ ( of the T'ang dynasty. ddle of the night when he heard what seemed to the dropping Of a leaf. Immediately H~~~ ~~i~~ THE EIGHT IMMORTALS OF THE WINE CUP appeared with a small box in her hand. hi^ box contained the Pa-tzfi of Governor T'ien and she had stolen & * /I it from his bed side. These pa-tzii are the eight nativity by thou ~&-chu ( % %), Sung which give the year, month, day and hour of a ~h~ names of this famous group have been immort- Person'sbirth and are considered to be one's most in a poem by TU FU and their exploits have been a private Property. The trip to and from ~o~~~~~~ ~ ' i ~ ~, ~ frequent source of comment by many later poets. Li place was more than 200 miles, but Hung ssien made the poet, was the most lllustrlous of the eight. He it jn a few hours. On the morning following the trip was a constant attendant at the Court functions Of the Hsleh Sung sent a messenger with the box and a letter to E ~ ~i~~ Huang, and ~ his gay ~ consort, ~ Yang ~ Kuel-fei. ~ Governor Tien telling him that he was returning the box se wrote many verses in praise of the beauty and charm him knowing that it was his. Governor ~~i~~ had been of Yang xuei.fei as a result of wlllch hls influence greatly surprised at the loss of his box or he had a large the jealousy of the eunuch Kao Li:shih who perspaded yang ~ ~ ~ that i - the f ~ poet i had a hidden meaning l? surrounding him at all hours, ~i~ surprise verses and was in reality holding her UP to ridicule- the greater when he found that the most private she therefore intervened mation concerning him came so easily into the hands Of to confer a special honor the man against Whom he had been plotting, ~t caused of the objections raised by him to abandon his nefarious schemes. H~~~ ~ ~ i ~ resigned and asked the Emperor t to her master is held up as an example to all H~ persuaded seven other friends to fo These were Ho Chih-than Chiao sui (a S), Wang C (B +), Li Shih-chih (@ 3 ~h~ Emperor presented th with which they formed the group w as the Eight ~mmortais Of the Wlnec"p. HUNG HSIEN STEALING A Box RETURNING FROM A K" Hung-chung (M DI V), Five Dynasties. Han Hsi-tsai is the central figure of this picture. was born toward the close of the Tiang dynasty. $ % % He was a? able essayist and philosopher and rose to a lilgh Position. In accordance with the prevailing customfi by An Unknown Artist. H~~~ Hsien (Red Cord) Was a serving maid of his time he gave himself up to a dissipated life, and home of Hsieh Sung, Military Governor of L" Ch?u is said to have had forty concubines. The E~~~~~~ T ' dynasty. ~ ~ She ~ had charge of her B! uested an artist to draw for him a picture representing and despatches and on account of holding this position life and the Painting of Ku Hung-chung reproduces became acquainted with the intention of T'ien Ch'Gng original sketch made at that time.

13 STORIES IN CHINESE PAINTINGS A POEM ON CH'IH PI i&%ez)iieb by Wu Che'n (-55 a), Yuan Dynasty and Ch'iu Yin (fh%), Mlng Dynasty. Ch'ih Pi is one of the most famous places in Chins on account of the fighting that occurred here during the.. Three Kingdoms between Ts'ao Ts'ao on one side a?d Chou Yii and Liu Pei on the other. Ts'ao Ts'ao is sad to have had more than 800,000 men whom he brought with him from the North and though opposed by a much smaller force he was utterly defeated. The real place where this fighting occured is at Chia-yii Hsien to the west of Hankow, but during the Sung dynasty the great poet Su Shih mistook another place to the east of Hankow at Huang-kang which had a similar name for the real place. Here Su Shih wrote two poems on the beauty of the scenery and several pavilions have been bullt in commemoration of the visits of the great poet. This paintmg presents the scenes made familiar by the poem of Su Shih and this place though wrongly identified has been.the resort of scholarly travelers down to, the present time. The poet wrote two essays, one describing a visit early in the autumn and the other at the beginning of wlnter. This picture describes the latter visit. A GATHERING THE WEST GARDEN -mm%fk!fem by Li Ktcng-lin (3& B), Sung Dynasty. This famous garden was located near K'aifeng, the capital of the Northern Sung dynasty and here was gathered one of the most illustrious group of litterateurs and artists that the world has ever known. The.scr opens with a scene where the poet Su Shih is writlng a low table with his brother-in-law, Wang Hsien, and friend Ts'ai T'ien-ch'i watching him. At the rear of group stand the two concubines of Wang Hsien. In next group the artist Li Kung-lin is seen painting famous picture "Home Again" with Su Che at. the. si of the table and Huang T'ing-chien standlng with a f a in his hand watching the artist. The next group presents Ch'Cn Pi-shu playing a harp under an old tree with Ch6in Kuan seated near him with his hands in his sleeqes. The next group portrays Mi Fei writing an,inscnphon on a perpendicular stone with Wang Chung-chih watchiag : STORIES IN CHINESE PAINTINGS 133 him. In a bamboo grove on the other side of a small flagstone bridge are seated the Great Recluse Yiian-tIung and Liu Chii-chi, both seated on picturesque stones and busily engaged, in conversation. The complete history of the most brilliant era of the Sung Dynasty could almost be written from the lives of these men gathered in the Western Garden by An Artist of the Sung Dynasty. During a dry time in mid-summer there was but little water left in a pond where an oyster was trying to keep alive. Hoping that there would be a shower of rain the oyster opened its shell but a passing stork tried to catch it. The oyster quickly snapped its shell together catching the bill of the stork. During the ensuing d~ggle the stork said to the oyster: "It will not rain either today or tomorrow and you old oyster will perish without water." The oyster replied : "I will not unloose my grip on you either today or tomorrow and I will kill you, you old stork." In the meantime a fisherman came along and as both the oyster and the stork were fully occupied with their struggle for life easily caught both of them. From this tale came the proverb that "whenever there is a struggle between an oyster and a stork the fisherman gets the benefit."

14 STORIES IN CHINESE PAINTINGS, II STORIES IN CHINESE PAINTINGS, I1 41 We get up and work when the sun rises, Stop when the sun sets; We dig we118 from which we drink water, And plough the fanns to get our food; What has the Emperor to do with our hfs? -- This w s all a scene of peace and applness and the Emperor ao was greatly pleased wit X thecontentment. of the By JOHN C. FEBGUSON Q people who did not realize that his attempt to establish good government was in any way connected with their happy lot. HUANG CH'U-P'ING TENDING SHEEP In my book Chinese Painting I suggested in the introductory chapter that in judging pictures a know- %@l*&3?b ledge of the spirit of people as expressed in their historical BY Ku K'az-chzh (@ TBi k), Eastern Chin. development, literary production and poetic conceptions is helpful in correcting the vagaries of personal taste and At the age of fifteen he was given charge of a flock of peculiarity. Such knowledge is not needed to enable one sheep by his elder brother Ch'u-ch'i (@l &). One day, to appreciate the flow of lmne, the spread of colour or the while on duty he met with a Taoist prlest who took him composition of a Chinese painting. These characteristics to a grotto in the Chin-hua mountains (&@ m). There speak for themselves in all countries and at all time. he lived for over forty years. In the meantime, his elder Chinese paintings in these respects have no standards brother had been trying to find him but in vain. At last different from those of other countries but in the realm there came another Taoist priest who told Ch'u-ch'i that of the subjects chosen by Chinese artists we find everything there was a shepherd in the Chin-hua mountains who unfamiliar until these are explained. In the Journal of might be his brother. Upon hearing this, Ch'u-ch'i went this Society, Vol. LVI, 1925, p. 110, I gave brief explan- immediately to the mountains and found him. Ch'u-ch'i ations of thirty-nine subjects of,we!l-known paintings and asked about the sheep and Ch'u-p'ing said that they were arranged them according to thew hlstorieal sequence. In on the east side of the mountain. They went to the spot this paper I have followed the method of grouping paint- together and there Ch'u-ch'i found only what he thought ings together according to their common subject or, in the to be white boulders, but curiously enough these boulders case of Li Kung-lin, the paintings of one artist. turned out to be sheep when Ch'u-p'ing called them to get up. This picture presents Ch'u-p'ing in this magical act THE CITIZENS OF YAO'S EMPIRE SINGING of turning stones into sheep. % E % f i % l PO I AN^ SHU CH'I PICKING WILD PLANTS By Han Kuang ($?$ g), T'ang dynasty, f@%&@i%?&!&l and Lz Sung (+$ g), Sung dynasty. By Li T'ang (* E), Sung dynasty. Po I was the elder brother of Shu Ch'i. They were Yao is regarded as the ideal ruler of ancient times. the sons of the Prince of Ku Chu (a fm), a feudal state It is said that when after years of administration he of the Shang dynasty. Their father made the younger son wanted to find out what his people thought of his govern- the heir to his property but when he died Shu Ch'i ran ment he went out in private clothes and wandered about away from his native state as he was unwilling to deprive the country. He met with some farmers who were enjoy- his elder brother of the rights of primogeniture. The lng themselves after them hard day's work. They sang elder brother on his part dld not wish to upset his father's and danced. They had no musical instruments but they will and he also fled the country leaving the estate to their regulated them slnging and dancing by beating against the younger brother. This was during the last years of the ground. Their song was : Shang dynasty. When the two brothers heard that Wu Huang Ch'u-p'ing was a native of Tan-hsi (B g).

15 42 STORIES IN CHINESE PAINTINGS, n STORIES IN CHINESE PAINTINGS, Wang was starting an expedition against their feudal SUN Wu DRILLING AN ARMY OF PALACE LADIES principality Shang they went and advised him that it wes not right for a vassal state to start a rebellion. Their & % f t advice was rejected. After Wu Wang's uprising proved BY Ch'i% Yins (& 3). Ming dynasty. successful and the Chow dynasty was founded the two brothers bitterly opposed it and declared that they would Sun Wu (B $3 lived during the time of the Warring not feed on its grains. They retired to the mountains &ate8 and became a great expert in military tactics. He where they fed themselves on ferns and finally perished of served as commander of the army of the State of Wu under cold and hunger. Prince Ho-lu (Bj fit) and through his military success the State of Wu became powerful. When he was first LIEH-TZU RIDING UPON THE WIND introduced to the prince he talked freely on military F13-@Ria tactics and Ho-lu was greatly pleased. HO-lu then asked if what he said was practicable for ordinary soldiers. By Ma Yuan (& 8), Sung dynasty- Sun wu replied that it was not only practicable for Lieh yu-ktou s), commonly known as Lieh- soldiers but for any one, including women. The prince tzc (gu +), is said to have been a native of the State of was amazed at this statement and called out his palace ChCng (gp) and to have lived at approximately the same ladies to try an experiment. Sun Wu took charge of them, period as chuang-tzg (a F). According to Chuang-tzc, dividing them into two companies and appointed two of ~i~h-t~c could ride upon the wind and travel whithersoever the most beautiful, who were most loved by the prince, as captains. He proclaimed martial law which meant that he wished, staying away as long as fifteen days- anyone who dared to disobey the orders of the commander THE EIGHT STEEDS would be beheaded. He then instructed them how to march forward and backward, right and left. This was /I &% Bl simple and every one understood, but when he gave his BY Shih Tao-shhi Chin dynasty. first order the ladies began to laugh. He called out a Reproduced by Chao MZng-fa (B m), Yuan dynasty. second time and then a third time but they continued to MU Wang (s 3) of the Chow dynasty had eight steeds, which are said to have been able to travel 30,000 li a day. With chariots drawn by these steeds he made extensive travels over the empire and visits to the Hsi as explained in "The Festival of wang M~ (g E B), wang M~ at Yao Ch'ih," Vol. LVI, p.112. According to the laugh: He then became very angry and had the two captains beheaded. The prince, who was sitting on a tower, tried to save them, but in vain. Su wu then had new captains appointed and nobody dared again to disobey him. In a short time the ladies were marching like well-trained soldiers. T'u Hua Chien W6n Chih (m during the VISITING TAI K'UEI reign of Wu Tiof the Chin dynasty, A.D a~aint- 35 & mg of these eight steeds made at the time of Mu Wang was found. As the painting was very indistinct on account BY Chu Jui (Zk a), Southern Sung, and of its age, Shih Tao-shih was ordered to reproduce it. Chao Po-& (ib 113@), Southern Sung. This reproduction was handed dur~ng the Division as a Hui-chih (E i% 2). a son of Wang Hsi-chih national treasure from one dynasty to another down to the great calligraphist, A.D , lived in retirement the T'ang and during the reign of ChCn Kuan, A.D , it was loaned to the Prince of Wei (%I E %) in Shan-~in (lh B), modern Shao-hsing (gj R). He was for also a noted scholar and calligrapher. He had a friend (s ii~ Chao MCng-fu made a COPY of this some distance from his house. One day there was a heavy painting and it was in the collection of Wang Yiian-mei but the Sky cleared at nightfall. The effect of (3 2) of the Ming dynasty. the bright moon shining upon the snow was so pleasing to reproduction. According to the Ch'ing H0 Shu Hua Fang named Tai K'uai who lived at Yen-hsi (%I) g).

16 44 STORIES IN CHINESE PAINTINGS, 11 Wang that he wanted to enjoy it with his friend Tai. Immediately he ordered a small boat and started for Yen-hsi to see Tai. The journey took him some hours and on the way he lost his enthusiasm for the moonlight so that when the boat finally reached the gate of Tai'8 house he decided not to disturb him and returned to his own home in Shan-yin. This picture presents Wang on his way to visit Tai. MING HUANG No Emperor has been the subject of so many paintings as Ming Huang, the sixth Emperor of the T'ang dynasty, andno Empress as his consort, the beaut~ful Yang Xuei-fei. In this Journal, Vol. LVI, 1925, p. 127, mention is made of this Emperor in "The Game of Polo," painted by Li Kung-lin. Other paintings of him are as follows: MING HuANG IN A MUSICAL PERFORMANCE t!mss%b By Hun Kwang (g@), T'ang dynasty. This picture presents the Emperor in, a musical performance. He had a band of 300 musicians and be would spend days and nights in tralning them. He was an expert in musical instruments and has been honoured as the God of the Stage. (See Chinese Painting, p. 76.) MING HUANG TEACHING HIS SON sa r El Reproduction of a T'ang dynasty painting by the Emgeror Hui Tsung of the Sung. Ming Huang is here given as a teacher instructing his son. The boy has a book in front of him and is listening attentively to his father. On one side?s standing a general in uniform with hands folded on hls breast. MING HUANG RAMBLING THE NIGHT t!m.s&@el By W6n Chdng-ming 88) &Xing Dynasty. This picture presents Ming Huang in the Imperial chariot going for a drive in the night with the palace ladies. STORIES IN CHINESE PAINTINGS, I1 i 45 MING HUANG AND FOUR OTHER BROTHERS 3 5 By Huang yen-hho (R % a), Five Dynasties. Ming Huang had four other brothers whom he loved dearly. He always enjoyed their company. After he became Emperor he feared that his brothers would no Ion= remain on intimate terms with him. Therefore he had a bed cover large enough to cover all the five of them made under which they used to sleep together just as they did when they were young. MING HUANG PLAYING A JADE FLUTE o A s & R E ~ ~ By Huung Ysn-hao. Five Dwnasties. ".. -. There are also three pictures in which the Empress is associated with the Emperor: THE FLIGHT OF MING HUANG TO SS~-CH'UAN s a ~ * ~ ~ By Li Chao-tao (P B3 S), Tang - dvnastv. - - This picture shows Ming Huang and Yang Kuei-fei and attendants just as they were leaving Ch'ang-an on their ill-fated journey to SsG-ch'uan after the rebellion of An Lu-shan. MING HUANG PLAYING CHESS WITH YANG KTJEI-FEI rnbar%+eb By an unknown artist of the Sung dynasty. MING HUANG IN THE HUA CH'ING PALACE IN THE MOONLIGHT E Z i % B % R S B By Ku K'uei (B s) Yuan dynasty Hua Ch'ing Palace was the summer resort of the Emperor Ming Huang. He used to go there with his consort Yang Kuei-fei in the summer and stay on till winter. This picture presents him enjoying the scenery of the place in the moonlight. The gay reckless life of the Empress Yang Kuei-fei is narrated in Vol. LVI, p. 128, in the comments on "T'ai Chh Mounting Her Horse." The other most noted paintings of her are the following:

17 46 STORIES IN CHINESE PAINTINGS, 11 YANG KUEI-FEI RETURNING DRUNKEN FROM YAO T'AI % k B % B B By Li Kung-lin ($. Sung dynasty. This picture presents Yang Kuei-fei about to mount a horse. She had become drunk during a feast with the Emperor Ming Huang at Yao T'ai and the attendants are shown helping her to return to her Palace on horseback. (See Chinese Painting, p. 115.) YANG KUEI-FEI SUCKING DEW FROM FLOWERS ~ ~ F # E Z E ~ B By Lady Liu (%I) fit A), Southern Sung dynasty. In order to rid herself of the uncomfortable feelings due to excessive drinking she would get up early in the morning after festive dinners and suck the dew from flowers. She found this, coupled with the fresh air, an excellent restorative. YANG KUEI-FEI COMING OUT OF HER BATH & B X % B By Chou Fang (Jlil Btj)' T'ang dynasty and Yuan dynasty artist. There was a hot spring bath in the Hua Ch'ing Palace the Emperor Ming Huang's summer resort, (+ g), and Yang Kuei-fei used to bathe in it. This pictures her as she is leaving the pool. YANG KUEI-FEI IN A NAP % X B By Wu Wei (g@), Ming dynasty. This picture depicts the Empress in a graceful posture during a nap in the spring time. The great artist Li Kung-lin who lived at the close of the eleventh and the beginning of the twelfth centuries, preferred to paint historical and religious subjects rather than landscape. A description of this remarkable artist may be found in Chinese Painting, pp In my earlier paper on LLStories in Chinese Paintings," I STORIES IN CHINESE PAINTINGS, Vol. IVI, mentioned five paintings by this artist, viz., "The Nine Songs," p. 113, "Home Again," p. 123, "Li Mi Submitting to Ch'in Wang," p. 126, "The Game of Polo," p. 127, and "A Gathering in the Western Garden," p. 1s. Other interesting subjects depicted by this artist are given herewith : ILLUSTRATIONS OF FILIAL PIETY WITH ANNOTATIONS B H % The Chssic of Filial Piety is divided into 18 chapters and is a discussion on this subject between Confucius and his disciple Tssng Tzfi (@ 3-), a most filial son. In these chapters is emphasized the importance of filial piety from the emperor down to the common people, from the administration of an empire down to everyday life. Li Kung-lin gathered from each chapter the main idea and painted these pictures. (See Chinese Painting, p. 115.) EXAMPLES OF LOVING PARENTS AND FILIAL SONS B % & E B The first part presents Confucius instructing his son Li (&) to learn the Book of Odes and the Book of Rites. The second part presents the youthful Mencius with his mother. The third part presents the mother of W6n of the State of Lu (@) who, in spite of her high dignity, continued her work of weaving. Her son begged her not to do it but this grieved the mother who thought that her, son did not understand the duties of persons according to ancient customs. She told her son that every person ' must have some work to do and that idle hands soon became wicked ones. She told him that for this reason the ancient system provided that from the emperor and "he empress down to the common people, men and women, all should be employed. Weaving was the particular duty of women. I Su Kuang (@ g) lived during the Western Han 1 dynasty and in the reign of Hsiian Ti, B.c., was appointed Grand Tutor of the Heir-Apparent. On his retirement from office he was presented with a handsome sum of money by the Emperor, the Heir Apparent and other officials. On reaching his native district he distributed this money among his poor relatives and friends and daily entertained his neighbours. Some of his friends advised him to invest money in land and buildings but he

18 STORIES IN CHINESE PAINTINGS, 11 refused to do so saying that he did not want to burden his children with money which they did not need and they already had the original property of the fam~ly. He said that if his children were good the additional money might take away their ambition, and if they were bad the money would make them worse. The part of the picture presents Su Kuang with his neighbors. The next part of the scroll presents TsOng Ts'an ( g s) and his father Ts8ng Nsi (@ a). Thls man was the subject of the preceding painting "Illustrations of Filial Piety." Many tales are told of his devotion to his father. Every day TsGng Ts'an would supply his father with wine and meat. After his father had finished his meal, TsAng Ts'an would ask what his father wanted done with the remaining food and would give it to anybody that his father mentioned. Whenever his father asked if there was any food left that could be gjven away,ts8ng Ts'an would always reply in the affirmative. In thls way TsOng Ts'an "served both the body and the wishes of his father" as the Chinese phrase aptly expresses the idea. This is contrasted with Ts&ng Ts'an and his son Ts6ng Yiian (% z). After the death of Ts8ng Ts'an's father, his son Ts8ng Yuan also served him with wine and meat, but TsOng Yuan never asked if Ts8ng Ts'an wanted 40 give anything away. Whenever Ts6ng Ts'an asked lf there was any more, the answer was always!n the negative. The idea of TsOng Yiian was that he dld not want to give anything away but to reserve all for his father. "Although he thus served his father in the body he neglected his wishes." The next part presents Lao Lai Tzii (z +) with his aged parents. He was himself seventy years of age but in order to please his parents he dressed himself 1x1 fantastic clothes and played as if he were a young boy. The next part presents a scholar named Tung Chao-.an (s a gj), who lived during the reign of ChOn Yuan, A.D , of the T'ang dynasty. He was poor but he and his wife served his parents well. He would go out farming, or fishing, or picking firewood in the day and read at night. This filial conduct had most unusual influence. A hen belonging to this man took care of a brood of puppies while the mother was out searching for food. This part of the picture presents these scenes. The last part presents T'ang Fu-j8n or as she.is generally called Ts'ui Shih ( g ) with her filial daughter-in-law. The mother was very old and had lost STORIES IN CHINESE PAINTINGS, 11 all her beth. Eyery day the daughter-in-law nourished the old woman w~th milk from her own breast and in this way the old lady lived in good health to a ripe old age. THE THREE WORTHIES OF THE KINGDOM OF WU - The three worthies of Wu portrayed here are Fan Li (% &), Chang Han (@ %), and Lu Kuei-mOng (B & 3). Fan Li lived during the time of the Warring States and was the minister of Kou Chien (5 E) of the State of Yueh. It was due to his clever scheming that Kou Chien was able to revenge himself on the State of Wu. After this success Fan Li withdrew from official life and wandered about fromplace toplacein a boat. Chang Han lived dunng the Chin dynasty and was famous as a poet. He resigned from his official post saying that he longed for the soup and fish of Sungkiang. Lu Kuei-mOng was a Poet.of the T'ang dynasty and was accustomed to practise abst~nence from food. He amused himself by roaming among the waterways in a small boat and by fishing. He took with him a few books and writing material. (See Chinese Painting, p. 115). This lady was named Yu-chiang (5 g) and lived in the mountains of the Hua-yin (+ jg) district. Her whole body was covered with hair. She claimed that she was One of the Palace ladies of the First Emperor, Ch9in Shih Huang, and had sought refuge in the mountains at the downfall of the dynasty. There she fed on the leaves of the pine tree, becoming an immortal. - OPENING THE ALMS-BOWL A mother demon had five hundred sons, who were scattered all over the world feeding upon the blood of human beings. The Buddha felt sorry for the peopleand, in order to stop the wrong doings of the sons of the mother demon, he had her youngest son, whom the mother loved most, arrested and imprisoned in his glass alms-bowl. Soon the mother demon appeared before the Buddha and begged for the release of her son, but the Buddha refused. The mother demon became angry and a war was waged against the Buddha. She was assisted by her other 499 4

19 -- 50 STORIES IN CHINESE PAINTINGS, 11 sons and numberless other demons, They tried all possjble ways to lift the alms-bowl and then tried to break it open, but failed. Then they attacked the Buddha with stones, arrows, swords and spears, thunderbolt and lighb ning, but on all sides the Buddha was protected by lotus flowers so that they could not hurt him at all. Seeing that the Buddha could not be overthrown by force the mother demon changed her mind and begged again for the release of her son, this time swearing never to do harm again to the people. Thereupon the son was released. This picture presents Buddha seated on a lotus pedestal surrounded by his attendants, and opposite him stands the mother demon with two female attendants following. At a distance from them on a rock is the baby covered with a glass alms-bowl. - Behind ~ ~ the mother demon are many other demons accom- panied by tigers, elephants and dragons. THE LOTUS CLUB g ri!a The Buddhist priest Hui-yuan (E s) lived during the Eastern Chin dynasty, A.D He was the founder of the Lotus School which teaches the doctrine of a Paradise in the West to which the worshippers of Amlda Buddha are transported. A temple called Tung-lin (FfE im; 3) was erected for him in the Lii mountain where he lived with Hui-ch'ih (g@) and Hui-yung (3 jx), ~ Wof O his followers. Later, Liu Ch'Ong-chih ($%I] E 2), Lei Tz'il-tsung (s 3 z), Chou Hsii-chih (m E Z), Tsung Ping (g fi), Chang Ch'uan ($+ 3) and Chang Yeh (.@ e), all noted scholars, came and joined Hui-yuan after giving up their offical positions. Then came seven other priests, Tao-ping (z B), T'an-ch'ang (& s), Huijui (g p&), Tan-shGng (9;A), Tao-ching (s@), Tao- sh6ng (g y) and T'an-shun (3 m), and at last two Indian priests, Pa-t'o-lo (@ g) and Peh-sh8 (Jm &). They formed a club and were known as the eighteen worthies of the Lu Mountain. Hsieh Ling-yun (a SZ), a distinguished poet, greatly admired the teachings of the priest Hui-yuan. He dug a pond for him and planted white lotus in it. From this came the name "White Lotus Club." Hsieh wanted to join the club, but Hui-yuan refused, saying that Hsieh's mind was too confused. T'ao Yuan-ming (II$ $$ PJJ) was also a frequent visitor to the Club. While Hui-yuan greatly admired him and would have gladly taken him into the Club, T'ao did not care to STORIES IN CHINESE PAINTINGS, I1 join &, as he did not like the doctrine preached by Huiyiian. Another frequent visitor to the Club was a Taoist priest named Lu Hsiu-ching s). Although they preached different doctrines they were great friends. There was a creek outside of the temple called Hu-hsi (B g), and it was Sui-yuan's rule after entering the temple never to go further than the edge of the creek, thus keeping himself in complete seclusion from the outside world. However, one day the Taoist priest Lu Hsiu-ching and T'ao Yuan-ming came and chatted with Hui-yiian and on their departure Hui-yiian walked and chatted with them and unconsciously passed the bridge over the creek, thus breaking his rule. Upon noticing it Hui-yuan and his friends had a long laugh together before separating. T'ao Yuan-ming was a lover of wine and had no admiration for Buddhism. In order to get T'ao to visit him, Hui-yuan would often provide wine and then invite T'ao to come and drink This picture presents the prbsts of the CJub, some preaching, some standing, some seated in meditation and some preparing tea. Hui-yuan is laughing with the Taoist priest Lu by the side of the bridge; T'ao Yuanming is leaving the mountain in a basket carried by his son and one of his disciples; and Hsieh Ling-yiin is just arriving on horseback. (See Chinase Painthg, p. 114). THE THREE WORTHIES LAUGHING BY THL CREEK E g = % B By ii T'ang (3 E) Sang dynasty. The subject of this painting has already been described in the preceding paragraph on the Lotus Club. The three worthies laughing together over the mistake made by Hui-yuan in unconsciously crossing the bridge which he bad fixed as the boundary of his retreat is here commemorated. According to The Topography of Lii Shan there was erected on the spot a San Hsiao T'ang (2% 8) in commemoration of this occasion. From this it is evident that Li T'ang is correct in this painting. There are many instances in Chinese literature of groups of famous men who were accustomed to foregather in some beautiful resort where they feasted and drank during intervals of composing poetry. This custom is still prevalent both in China and Japan. In my previous paper on "Stories in Paintings," Vol. LVI, 1925, p. 110, I mentioned several groups, "The Four Oil Men", p. 115.

20 ~~ ~ STORIES IN CHINESE PAINTINGS, 11 "The Seven Worthies of Chu-lin", p: 120, "The Gathering at Lan T'ing", p. 121, "The Eighteen Scholars", p. 127, and "The Eight Immortals of the Wine Cup", n p. 1x0. -- The - following are other groups which have been the subjects of paintings : THE NINE OLD MEN f L % B By an unknown artist of the T'ang dynasty, and Ziu Sung-nien (@j% +),Sung dynasty. Po Chu-i (Q g), one of China's greatest poets, lived during the T'ang dynasty. After filling high official positions for many years he resigned and built a retreat at Hsiang-shan (B LLI), near Loyang, where he gave himself 6p to poetry and wine. He often had with him eight other old men and one day in the fifth year of the reign of Hui Ch'ang, A.D. 845, they had a feast together to congratulate themselves of their old age. They have been known either as "The Nine Old Men of Hsiang- shan" (S 9. h) from the name of the place where they gathered, or "The Nine Old Men of the Reign of Hui Ch'ang" (@ g 2) which indicates the time they met. They were Po Chu-i, the host, 74 years of age, Li Yuansang the oldest of them all, 136, Priest Ju-man (@ 80 a), 95, Hu Kao (@ 33, 89, Chi Mln (d Bk), 88, Liu Chen (aj s), 87, Cheng Chu (a IS), 85, Lu Chen (B g), 83, and Chang Hun 77. This picture presents these nine old gentlemen in a garden, three in a pavilion, two in a boat and four in the hall. A MEETING OF AGED WORTHIES AT LOYANG? & % % % E f B By an unknown artist of the Sung dynasty. The meeting of nine old gentlemen held at Hsiangshan as described in the preceding paragraph was highly admired by the scholars of the succeeding Sung dynasty and frequently similar meetings were held, but it was left to W6n Yeng-po to hold the Ch'i Ying Gathering (% %@) in the fifth year of Yuan Fgng, A.D The meeting was held at the house of Fu Pi (g $55) and the participants were thirteen. They were, according to age, Fn Pi, 79, WgnYen-po, 77,Hsi Ju-yen(E~~).77, Wang 75, Liu Chl Shang-kung (3: fkj af ), 76, Chao Pin (B E), STORIES IN CHINESE PAINTINGS, I1 53 (BJ e), 75, FSng Hsing-chi (Efi g), 76, Chu Chien-chung (?E- S FP) 73, Wang ShCn-yen (3: g), 72, Wang Kungch'en (Z%t E), 71, Chang Wen (a k7), 70, Chang Tao (Sh??%I,70. and Ssii-ma Kuang(q&%), 64. Ssii-ma Kuang was the Youngest of them all and he attended only by special permission. Wang Kung-ch'6n was not present as he was then at his official post in Ta-ming (A&). He wrote to Wgn Yen-PO claiming that as a native of Lo-yang and with his old age he should be included though he could not be present owing to official duties There were..--- in -areality only twelve present, but it is customary for paint- ings of this occasion to give thirteen. It is winter time and the thirteen worthies are scattered in various parts of the hall and the courtyard where the prunus and narcissus are seen in full bloom. THE FIVE OLD MEN OF SUI-YANG % W K % B By an unknown artist of the Sung dynasty. TU Yen (.& %) lived during the Northern Sung dynasty. He was once made prime minister during the first years of the reign of the Emperor J6n Tsung (A. D ). but shorty afterwards he was given an outside post. As he was already very old he soon resigned, and retired to his native district Sni-yang (k B). There were in the district four other old men, all of whom were his former colleagues in the government. Wang Huan (3: a). formerly of the Board of Rites, was 90 years of age, Pi Shih-ch'ang (164 & E) of the Board of Revenue, 94, Chu Kuan (% 8) of the Board of War, 88, F6ng P'ing (itf; 9) of the Board of Communications, 85. Tu Yen himself was then 80. He invited them to come together and form a club called "The Five Old Men Club" (5 2 &I. They used to have feasts together and com- pose poems. five old men. This picture gives the portraits of these LI PO FEASTIWG HIS BROTHERS IN THE SPRING TIME INAPEAcHANDPEARGARDEN Z+agt%+HEJ By LZng Mei (% f:), Ch'ing dynasty. Li Po, the great poet, was also a pleasure seeker. He has left an essay written in commemoration of a feast,

21 54 STORIES IN CHINESE PAINTINGS, I1 given by bh to his brothers in a peach and pear garden when the flowers were in full bloom. It was at night, and lanterns were lighted. According to the poet the world was simply a hotel for all living creatures, and days and nights were travellers passing through the long space of time. The time assigned to an individual was very short and therefore he must seek to enjoy himself as much as possible. This was the season that he and his brothers continued to enjoy themselves by having feasts at night, even after having spent the whole day together.... su wu (@ 3) Su Wu was an official under the Emperor Wu Ti of the Han dynasty. He lived at a time when the Hsiungnu were a source of great trouble to the empire. He was sent to the Hsiung-nu to carry on friendly negotiations but was detained by the Khan who wanted him to throw off his allegience and enter his service. When he refused, he was thrown into a dungeon and was left there without food for several days. He kept himself alive by sucking snow and gnawing a felt rug; and at length the Hsmngnu, thinking that he was a supernatural being, sent him away north' and set him to tend sheep. In the meantime one of his friends named Li Ling (+I@), a military official, sn~rendered to the Hsiung-nu after a bad defeat and was given a high post. They were good friends and were all the more intimate when they met again in a foreign land. At length, peace negotiations between the Hsiung-nu and the Han were concluded and Su Wu was permitted to return to China. It was with great distress that they departed. Two paintings of which Su Wu was the subject are : TENDING SHEEP &?& B By Li Ti (* a), Sung dynasty This picture presents Su Wu tending sheep in the Mongolian wilds. There are a flock of sheep and five horses and two camels pasturing on a plain with Su Wu seated on the ground. In the background is the Ying Shan (@ III) covered with snow. a STORIES IN CHINESE PAINTINGS, I1 55 FAREWELL %% $ a Ell!a By Ch'6n Chu-chung (E E +) Sung dynasty, and Chiu Ying (fi 8). Ming dynasty. This picture present Su Wu on a desert plain with his flock of sheep. Li Ling in full uniform is presenting a cup of wine to him while informing him of the good news that he is permitted to return. As Li Ling said farewell to him Su Wu wept bitterly.... CHUNG K'UEI (& j@) According to the Tien Chung Chi (X rp Zc) Chung K'uei was a spirit capable of devouring demons. During the T'ang dynasty when the Emperor Ming Huang was once suffering attacks of intermittent fever he saw in a dream a large spirit with a blue coat and a broken hat catching small demons and devouring them. The spirit said that his name was Chung K'uei and that he was a native of Chung-nan (@ 61). He had attained the rank of Chin-shih, but, failing in an examination, he had killed himself by knocking his head against a flight of stone steps. When the emperor awoke from his dream he found that his fever had all gone. Upon this the artist Wu Tao-tsti was ordered to make a portrait of the spirit and this is the origiaof the legendary figure Chung K'uei. His portrait was hung up in doorways on New Year's Day to keep off wicked spirits during the T'ang, Sung, Yiian and Ming dynasties, but now it is used on the Dragon Boat Festival in some parts of the country. Just when this custom arose it is not known. Chung K'uei has been a constant subject for paintings and in every case he is depicted as being followed with demons. The following are examples of such paintings: CHUNG K'UEI PLAYING A LUTE IN THE By Ma Yuan (& B), Sung dynasty. This picture presents Chung K'uei playing a lute under an old tree. In the background is a demon listening to the music.

22 56 STORIES IN CHINESE PAINTINGS, 11 CHUNG K'UEI GOING FOR A RAMBLE +clr%%!a By Kung K'uai (E fi;l), Southern Sung. Chung K'uei and his sister were out on a trip. They were carried by demons in sedan chair. CHUNG K'UEI OUT ON A CIRCUIT IN THE NIGHT OF THE FIFTEENTH OF THE FIRST MOON &%%*Z&%%!a By Wu Tao-tzG, (g:& +), T'ang dynasty, and Yen Hui (B B) Yuan dynasty. On this occasion Chung K'uei is carried by three demons and he has a long drawn out line of guards and attendants. The 15th day of the first moon is regarded as an important feast day. CHUNG K'UEI UNDER A PRUNUS TREE %7E.@E@ By Ch'ieu Ku (@ BE), Ming dynasty. CHUNG K'UEI IN A WINTER SCENE %%@%4@ By W6n Chdng-ming (g m), Ming dynasty. CHUNG K'UEI AND SNOW-COVERED TREES Z4%@%4 By W6n Chia (z s), Ming dynasty. CHUNG K'UEI ESCORTING HIS SISTER TO MARRY A By Su Han-eh'in (E?& E), Sung dynasty, Yen Hui Yiian dynasty, and Waug Ch6n-p'6ng (3 Yuan dynasty. Chung K'uei left a sister at home when he became a spirit and she had no one to take care of her. He had a friend whom he greatly admired and decided to have his sister marry him. He first appeared before his friend and got his consent and then with a band of demons escorted his sister to her future husband's abode. I STORIES IN CHINESE PAINTINGS, I1 * CHUNG K'UEI By Ku Hung-chung (& +), Five Dynasties. CHUNG K'UEI ATTACKING A DEMON 5i&@B&9 By Lzu Lz-chung (gg E +),Sung dynasty. CHUNG K'uEI DANCING BBiEia By Lzu Li-chung, Sung dynasty.... KAO TSUNG BEFORE HE WAS MADE EMPEROR +%B@B By Hszao Chao (@,%), Southern Sung, and Ch'iu Ying (-bc s), Mzng dynasty. This is a scroll in twelve parts presenting stor~es relating to the Emperor Kao Tsung, first emperor of the Southern Sung, before he was made emperor. These stories were compiled in order to show that he was the one commissioned by Heaven to revive the fallen Sung. The scroll was first painted by Hsiao Chao, an academician of the Southern Sung, and during the Ming dynasty Ch'iu Ying made a reproduction of it. Part 1. The birth of Kao Tsung. Part 2. In a dream his mother was told by two gods that she should not feed him with food left over by her. Part 3. Kao Tsung practising archery. Part 4. Kao Tsung on a mission to the Chins ne- ) gotiating for peace. b Part 5. Kao Tsung on another mission to the Chins. On this occasion it was followed by four armoured gods who were invisible to all but herself. Part 6. Kao Tsung on a mission to the Chins reach-! ed a temple in the Tz'u-chow (@ fl) district. Here he was begged by the residents to go back lest he be taken prisoner by the Chins. Part 7. Kao Tsung's mother as prisoner in the camps of the Chins divining with men of Elephant Chess. The divination shows that it was he that was to become the future emperor.

23 58 STORIES IN CHINESE PAINTINGS, I1 STORIES IN CHINESE PAINTINGS, Part 8. While Kao Tsung was still lingering at Tz'u- * chow a band of cavalry of the Chins came to arrest him. SALUTING A BOULDER On their way they asked an old country lady about the? F Z ~ whereabouts of Kao Tsung and she told them that he had left for Shantung two days earlier. Upon hearing this By Mi Fei (% %) Sung dynasty. the men retreated and thus Kao Tsung was saved. Mi Fei, and artist and scholar, was an eccentric Part 9. Kao Tsung shooting with bow and arrow character. When he was magistrate of Yu Hsi (g$ gq), a from a pavilion. district in modern Anhui province, he heard that there Part 10. Kao Tsung hunting. was a curiously-shaped boulder lying on the bank of a Part 11. Kao Tsung crossing a river. It was winter river. He gave orders to have it carried to his official time and he crossed over it on ice, but just as he reached residence to him. He was greatly pleased with it and the bank the ice broke and his followers fell into the water. immediately saluted it calling it his elder brother in the Part 12. After the emperors Hui Tsung and Ch'ing same way as if he were addressing a great friend who Tsung were taken prisoners, Kao Tsung was made corn- had just arrived. This was depicted by Mi himself in mander of the forces. One night in a dream he met the this picture. Emperor Ch'ing Tsung who took off his dragon coat and put it on him. This was another omen that he would REFUSING TO SHELTER A WOMAN IN A RAINSTORM succeed to the READING A TABLET BY Wang M6ng (E S?), Yuan dynasty. S@Ed According to the Family Records of Confucius By Li Ch'cng (R F), Sung dynasty. (N. + % S) there was once a man of the State of Lu, Ts'ao 0 (B B) lived during the Eastern Han who lived in a house near to one occupied by a widow. dynasty, on the bank of a river at Shang-yu (k B). One One night there was a great rainstorm in the midst of day her father fell in~o the water and was drowned. She which the house of the widow collapsed. The woman wept and wandered along the bank of the river in the went to the man's house and begged for shelter. He hope of finding his body for seventeen days wlth.no refused and would not open the door saying that according result and finally she committed suicide by throwing to the rites it was not proper for a man and a woman herself into the river. Several days later her dead body under 60 years of age to stay in a room together. The rose to the surface, clasping in its arms that of her woman contended that it was quite proper and cited the father. This act of devotion to her father was greatly example of Liu Hsia-hui (@3 T z) who once held a lady admired by the people and a tablet was erected by them in his lap without suffering the slightest imputation on her memory. The inscription on the tablet was composed his moral character. The man replied that this might by Tu Shang (E $3). Ts'ai Yung (gi &%)* the great have been possible with Liu Hsia-hui but not with him. calligraphist, heard of this tablet and went to see it. He The woman was kept outside in the storm. reached it by night and, as it was dark, he read the inscription by tracing it with his fingers. After having T'IEN CHI-TZ?S MOTHER REFUSING A BRIBE read it, he wrote the phrase E%@J%!%%@ on the B % M & P tablet and left. This is a puzzle phrase meaning that the composition was unusually good Some BY an unknown artist of the Yuan dynasty. years later Ts'aoTs'ao (BE) passed the tablet WlthSOme of T'ien Chi-tz6 (R his literary friends. He had heard of the tablet previously 3) was prime minister of the State of Ch'i (B). One day he was presented with a and the picture presents him reading the tablet and trying bribe of one hundred pieces of gold by a lower official. to solve the puzzle left by Ts'ai Yung. (See Chinese He accepted it and took it to his mother. The mother Painting, p. 89). became very angry. She told him that she would not

24 60 STORIES IN CHINESE PAINTINGS, I1 recognize him any longer as her son since he had been so dishonest as to receive a bribe. T'ien Chi-tzh became ashamed of his action and, returning the.bribe to the man, appeared before the King and told hlm the whole story, asking to be punished. In view of the prompt disavowal of the evil deed the King forgave the son and made a handsome present to the mother. * LANGUAGE AND NEW THOUGHT or, New Words for New Ideas By Dr. EVAN MORGAN --- We are living in an epoch of exceptional weight in the creation of new words. It is an age full of perplexity and difficulty, of disaster and change. It is an age of transition and cataclysmic events; nevertheless, it is an age rich in new thought and words, which are finding their way into the new dictionaries. "Boycott," "Bolsheviks" (Tz chih and Chin lieh tang), new ideas and new words, both in English and Chinese, which will be the interesting study of some future historian as he tries to expound the catastrophic age of the 20th century-for the rumblings and reverberations of the present will pass through many future centuries, and be recorded, partly, in the words the present is creating. We may even imagine the scholar in some distant age trying to reconstruct the idea of mo t'o k'a in some ancient script, wondering what it could have been; just as we are trying to-day to know of the selfpropelling machine invented by the Duke of Chou about 3,000 years ago. This generation in the midst of the hurly-burly of, new experiences is in the condition governed, as the Chinese say, by the subjective point of view and is like the eicada and the young dove, which see things from their own point of view. (Chuang Tzu: Giles, p. 306). We are meeting with new experiences, feeling after new expressions, finding new things and making fresh discoveries, and human-like, endeavouring to put these into 1 signs and symbols that can be understood. Like everything else, language is in the process of development. ' Whilst it would not be correct to say the language is new, nevertheless, there are many new things in it. And the new things are finding much favour. But the law of order must be remembered. Dean Inge has said: "It is most significant that the Gospel at once introduced a new ethical terminology. The Greek words which we translate love (or charity), joy, peace, hope, humility, were no part of the stock-in-trade of Greek moralists before Christ.

25 STORIES IN CHINESE PAINTINGS, 111 In the Journal for 1925, Volume LVI, I contributed Paper I on this subject and in the Journal for 1930, Volume LXI, I contributed Paper 11. In the belief that a knowledge of the subjects depicted is a very necessary qualification for full appreciation of Chinese paintings I have ventured to explain a few additional stories which are depicted in some well-known sketches. THE METAL SEALED CABINET &%!El By Lu T'an-wei tta tfd ), Six Dynasties. This is a thrilling story showing the loyalty of Chou Kung and is recorded in the Book of History (Legge: Pt. V, Book VI). When Wu Wang was seriously ill, Chou Kung prayed to "the three kings" that, as Wu Wang was much wiser and more useful to the new empire than he was, he should die in place of Wu Wang. The written prayer was then deposited in a chin t'&ng, a coffer bound (or sealed) with metal. Wu Wang recovered from that illness but did not long survive. He was succeeded by his son Ch'gng Wang for whom Chou Kung acted as Regent. Rumours as to the loyalty of the Regent to the king were circulated by the younger brothers of Chou Kung who were jealous of him. The Regent was placed in a very difficult position and decided to withdraw to the Eastern Capital. After Chou Kung had left the court, Ch'Gng Wang happened to open this metal sealed cabinet and discoveringthe written prayer of Chou Kung, was greatly moved. He immediately sent for Chou Kung and welcomed him back to the capital. The painting of Lu T'anwei shows Chou Kung making his prayer, with a tablet in his hand and dressed in official robes. Behind him are eight attendants. On the table before him are the offerings and on the side stands the coffer. This scene 8

26 82 STORIES IN CHINESE PAINTINGS, 111 is also pictured by Wang Chsn-p'gng in his scroll "Family Training" ( %$ ie B) mentioned by me in Chinese Painting, p CHOU KUNG ACTING AS PRINCE EEGENT mbmj& By Chao TUin ( S3 ii8 ). This painting depicts one part of the preceding tale. The Regent stands in front of the throne on which is seated the young king, Ch'&ng Wang. Behind the throne are four attendants, and at the side stand the two Dukes Pi and Shao. This scene is also depicted in stone on the frieze of the Wu Liang Tz'ii briefly described by me in Outlines of Chinese Art, p. 90, and in detail by Chavannes in his Mission Arche'ologique. THE TREE AND THE WIND ELikB By Tang Yin ( I% R ), Ming dynasty. This artist was fond of discussing with his artist neighour Chang Msng-chin ancient historical scenes. Chang has left two albums containing his visualizatior. of legendary and traditional lore. In this picture T'ang Yin attempts to reproduce the tale of Kao Yii, a man whom Confucius found on a roadside bitterly weeping. On stopping to enquire the cause, Confucius found that Kao Yii had lost his parents just after he had completed his studies and was in a position to remain at home to care for them. He likened himself to a tree in the autumn blown by the wind and stripped of its leaves. The picture shows a man sitting under two withered trees and weeping. (See Giles: Biog. Diet., No. 967). THE THREE BLESSINGS 3SB By Wang Yuan (4: W ), Yuan Dynasty, and Yu Ch'iu ( li: ;lc), Ming Dynasty. It is said in the Kang Chien I Chih Lu, Vol. I, p. 7, that when the emperor Yao once visited the Hua Mountains, the local official greeted him with the wish that he might have great riches ( % X ), long life ( % 55 ) and many sons ( % 55 f ). The emperor objected and said that with great riches troubles would also be great, with long life disgrace might come upon him more constantly and with many sons his cares would also be many. The official replied, "Everybody must have some work to STORIES IN CHINESE PAINTINGS, I11 83 do. If you have many sons and give each of them his share, what care do you have for them? If you have great wealth and distribute it among the people, what trouble do you get from it? With long life you can help the world along, when there is peace, and when there is chaos, cultivate your own virtue and lead a quiet life. After a thousand years, if you get tired of the world and want to become an immortal, mount on a cloud and ascend to the heavenly land where no disgrace could reach you." This explanation is said to have satisfied the emperor. The three blessings have been a popular subject in painting in which "riches." fu, are represented by a citron, "long life" by the peach, and "many sons" by a bursting pomegranate with its countless seeds, tzii. THE THREE PRAYERS 3RB By Chao Hui-shu (S3 $P ), Ch'ing dynasty. The topic of this painting refers to the story of the emperor Yao and the official at the Hua Mountains as given above. As the character meaning prayer is read chu and the name of bamboo is also chu the subject is represented in this painting by three kinds of chu, viz. the ordinary variety, the heavenly bamboo (t'ien chu) and the carnation (slzzh chu). LAO-TZU TEACHING THE TAO TE CHING %3-Bss!a By Li Kung-lin, Sung Dynasty. This picture shows Lao-tzii seated on a couch, with a feather fan in his right hand. Behind him is an attendant holding a case containing the Tao Ti Ching, and kneeling in front of him is Yin Hsi listening attentively to his instructions. Yin Hsi was an official in charge of the Han Ku Pass. One day he noticed a purple vapour rolling toward the pass from the east and recognized.it as the sign of the approach of some holy being. He then took special notice of the persons arriving at the pass and discovered Lao-tzii who was faring to the west. He begged Lao-tzii to stay temporarily at the pass so that he could study under him. This Lao-tzii agreed to do and taught him the Tao Ti Ching before passing on his way. Yin Hsi later wrote a book of his own which has become known by the name of Kuan Yin TzC (El F 5).

27 84 STORIES IN CHINESE PAINTINGS, I11 LAO-TZU RIDING AN OX 224&%6B Lao-tz5 is said to have had a black ox which he used as his riding animal. This pioture makes the ox look like a water buffalo. It was exhibited in the Central park, Peking, May 14-16, 1923, at an exhibition held in aid of the Famine Relief Fund of Shansi province, and was described by me in Vol. I, p. 308, of the China Journd. Another representation of Lao-tzii is mentioned in Outlines of Chinese Art, p LAO-TZU MEETING CONFUCIUS?LTE%3-& By Shih Jou-ming ( 32 W ), Yiian Dynasty. This picture shows Lao-tzii seated on a rock under two pine trees. Standing behind him are three followers, one with folded hands, one holding a large feather fan and one holding a book. A short distance on the opposite of Lao-tzii and seated on another rock, is Confucius, with two followers standing at his back and another two further behind. Lao-tzk is depicted as an old man with white hair and white beard, while Confucius is middle-aged. According to the K'ung TzC Ghia Yu, Confucius paid a special visit to the city of Chou to see Lao-tzii, whom he considered to be a man of wide knowledge. For this trip he was presented with a cart, two horses and two attends* by the Duke of Lu. The subject of conversation at their meeting is said to have been ritualistic practices. THE SHANG LIN PARK f:%h By a member of the Southern Sung Academy of Paintng. The Shang Lin Imperial Hunting Park was first built by Ch'in Shih Huang and covered the west part of the district of Ch'ang-an and parts of the districts of Chou-chih (S E ) and Hu (B!. It was greatly enlarged by the emperor Wu Ti of the Han dynasty and is said to have had a circumference of 300 li and 70 palaces in different parts. This scroll shows an open altar on which are the imperial screen, flags and sun shades. On both sides of the passage leading to the altar stand the imperial guards armed with bows and arrows. It was from this place that hunting was to start. In the picture may be seen a large body of water with boats on the surface and through the mist the city of Ch'ang-an. STORIES IN CHINESE PAINTINGS, WEI HSIEN INSTRUCTING HIS SONS 8k-T-B By Hsiao Ch'in ( (P 8 ), Ch'ing Dynasty. Wei Hsien ( S E ) lived during the Western Han dynasty and was a great scholar. He was the tutor of the emperor Chao Ti (86-73 B.c.). During the P6n Shih period (73-69 B.c.) of the emperor Hsuan Ti he was appointed Prime Minister and ennobled as a marquis. He had several sons whom he taught diligently. The youngest one, Hsiian-ch'gng ( 5 ), rose to high position on account of his learning and finally became Prime Minister and a marquis during the reign of Yiian Ti (48-32 B.c.), thus following in the footsteps of his father. This incident 'in the Wei family gave rise to the proverb that to leave to a son a trunkful of gold was not as good as to teach him a classic. This picture shows Wei Hsien seated in a chair with a sceptre in his hands. His wife holds a young child in her arms. At his back is a young boy holding a book. In another part of the room are three of his sons seated around a table reading their books. (See "Ming Huang teaching his son" in my Pawer , w. 44). A CHANG CH'ANG PAINTING THE EYEBROWS OF HIS WIFE BIaSEi By an unknown artist of the Ch'ing Dynasty. ThiB refers to apopular tale which has been explained by Giles in his Biographical Dictionary, No. 21. When the emperor rallied Chang Ch'ang on his custom of painting the eyebrows of his wife, he replied that stranger things than that happened between man and wire in the privacy of their chamber. Giles in his account seems to have missed the point in this tale. By Huang Tino ( W Rli ), Ch'ing Dynasty. This picture shows a green mound on which is a small temple. In front of the temple are a pair of stone lions and an old willow tree. On the right is a large river and in the distance may be seen the walls of a city. On the left is a wide stretch of open land. This evergreen mound is situated on the south of the city of Kuei-hua (R +k) in Suiyuan and has been reputed to be the tomb of Chao Chiin, the beauty in the

28 86 STORIES IN CHINESE PAINTINGS, I11 palace of the emperor Yuan Ti of the Han dynasty married to the Hsiung Nu chieftain through the treachery of the artist Mao Yen-shou. She is the chief figure in another painting described in Paper I, p. 116, and the tradition concerning her burial place is discussed by me in the China Journal, Vol. XIV, p DRIVING OUT WILD BEASTS %*%%El By Kou Lung-shuang (a.i6 W ), Sung Dynasty. Sung Chun ( Xi * 15) was the prefect of Kiukiang during the Chlen Wu period (A.D ) of the Eastern Han dynasty. The district was then suffering from a pest of tigers which appeared in large numbers and were a menace to the people. Every method was tried to capture the tigers, but the more they were harried the more furious they became. Sung Chiin then suggested that the appearance of tigers was due to the cruel misrule of government servants. According to him the thing to do was not to bother about the tigers hut to dismiss twe corrupt officials and to replace,them with honest men. This was done and soon all the tigers in the district crossed the river and migrated to the country lying to the east of Kiukiang. This picture shows the departure of the tigers from the district. (See p. llg, Article I, for a similar tale) By Huang Ch'iian ( R?S ), Five Dynasties, An unknown artzst of the Sung Dynasty, Chao Meng-fu (a Z Ifl), and Ch'ien Hsuan ( PP E ), Yiian Dynast?~. Shih Miao ( r$ S ), who lived during the last years of the Eastern Han dynasty was a man of peculiar character. He was made the prefect of Shou-ch'un ( % 3% ) during the reign of Chien An (A.D ). He went to his official post in a cart drawn by a cow. He remained in office for a little over a year, during which time the cow gave birth to a calf. He departed with the same old cart and cow but left the calf with the Deputy Magistrate, saying that it was the property of the district, for he did not have the calf on his arrival HP thus earned a great fame for his honesty and was given a high position in the capital. This picture gives the scene of Shih Miao leaving Shou-ch'un. He is shown with a cart and a cow and its STORIES IN CHINESE PAINTINGS, calf. Several of his former subordinates are seen bidding him farewell. Giles' account of Shih Miao in his Biographical Dictionary, No. 1723, seems to be incorrect Bg an unknown artist of the Sung Dynasty. Ma Jung (5) was a great scholar and a high official during rthe reigns of Shang Ti (A.D ) and An Ti (A.D ) of the Eastern Han dynasty. He was a man of wide learning and had thousands of pupils, among whom were such scholars as ChOng Hsiian ( S6 E ) and Lu Chih (P ). He was fond of a gay life and did not care to conform to the strict rules of cqnduct of the Confucianists. He had a band of singing nrls whom he used to place behind a red curtain in the same hall where his students were taught. This picture shows a group of women with musical instruments standing behind a curtaln. In front of the curtain is Ma Jung seated on a couch. Students with books in their hands are scattered in various parts of the room. THE FRAGRANT SNOW OF THE T ~NG WEI HILLS BHBS By,Chang Tsung-ts'ang ( SB E?& ), Ch'ing Dynasty. These hills are named after the hermit TOng Wei of the Han dynasty and are situated about seventy li on the southwest of the city of Wu-hsien in Kiangsu. The hills are famous for the prunus trees which are said to have been so thick that when in full bloom they gave hhe hills the appearance of being covered with snow. This picture is a landscape with prunus trees in full bloom. "DRUNK RV Li Kuno-lin ( + BI ), Sung Dynasty. -< - T+. is said of T'ao. Yuan-ming that whenever his friends called on him he would provide them with wine if he had it, but he was so perfectly frank that when he got drunk he would at once tell his friends that they might go, for he was drunk and wanted to have a rest. This picture shows him on his couch with one hand waving to his two friends and grasping a pillow w!th the other. jars. On the floor are lying in disorder empty wlne

29 88 STOBIES IN CHINESE PAINTINGS, I11 Li Kung-lin also depicted in another scroll a drunken priest as described in my Chinese Painting, p T'AO YUAN-MING WALKING WITH STICK mh~a%&b By Ch'ien Hsiian, Yiian Dynasty. As stated in his poem "Home Again" ( &? * R Bf ), T'ao Yuan-ming liked to spend his days rambling in the field with no other companion than his walking stick. He loved the freedom of outdoor life and was fond of comparing it with the stick in his right hand. Following him is a small boy carrying on his back a wine bottle By Ma Yuan (.#, B ), Sung Dynmty. During his life of retirement T'ao Yuan-ming would neither make calls nor receive calls unless wine was provided. When Wang Hung, who admired him greatly, became the prefect of the district and made his first call, T'ao Yuan-ming refused to see him on the false excuse of being ill. Wang Hung later learned of his weakness for wine and, when one day T'ao Yuan-ming was to visit the Lu Mountain, he sent Ch'ung T'ung-chih ( % % 2 ), who was one of T'ao's friends, with some wine to meet him on the road. When T'ao Yuan-ming saw the wine, he was so pleased that he gave up his triu and stopped at a hut on the road side to drink it. Wang Hung then appeared and was introduced to him. They spent a happy day drinking together. This plcture shows T'ao Yiian-ming seated in a chair with an attendant behind him. Wang Hung and the other friend are standing in front bowing to him. At the back of Wang Hung is a servant holding a jar of wine.. LIU LING AND HIS SPADE Ell -. 4%... Hi.. IF4 By Ch'ien Hsiian, Yiien Dynasty. Liu Ling lived during the Chin dynasty. He believed in the inaction of Taoism and was dissatisfied with the parlous conditions of his time. He was a great friend of Juan Chi ( E %B ) and Chi K'ang ( % SS ) and was one of the Seven Worthies of Chu-lin to whom reference is made in Paper I, p He was very fond of wine and it is said that be used to travel about I STORIES IN CHINESE PAINTINGS, aimlessly from place to place in a cart drawn by a deer, carrying with him a supply of wine and a servant wrth a spade. The servant was told that he should dig a hole in the ground and bury him wherever, he should find hrm dead. This picture shows Liu Ling m a cart drawn by a deer. Following the cart are two servants, one carrying a bottle of wine and the other a spade. Giles records this tale in his Biographical Dictionary, No TUNGSHAN WITH MUSIC AND SONG 3E LLl % +t By Liu Sung-nien $2 + ), Sung Dynasty. Tung-shan is a pseudonym of Hsieh An, whose life is described in Paper I, p It was a hill in the Shang-yii district of Chekiang. In his youth he was very fond of young women. The picture shows him on a bridge enjoying the beautiful scenery and surrounded with young ladies. GENERAL SHIH LO INQUIRING AEOUT BUDDHISM 25@pAgm By Ch'ien Hsiian, Yuan Dynasty. The priest Fo T'u-ch'eng (IZ EI W) came to China in the 4th year of Yung Chia (A.D. 310), of the emperor Huai Ti of the Western Chin dynasty. He practised magic art and professed to see things happening at a distance by covering his palm with hemp-seed oil mixed with rouge and looking into it. He also said that he could foretell things that would happen by listening to the tinkling sounds of the small bells suspended on the eaves of temples. He stopped at Lo-yang and had hoped to be able to build a temple there, but his schemes were all spoiled by the raids of Liu Yao ( ) and Shih Lo ( ), generals of Liu Yiian ( tz# if$ ) who then proc!aimed himself to be the king of a new Han dynasty in northern Shansi. Shih Lo was of Turkrc descent, illiterate, bloodthirsty and no respector of the persons of priests. It happened that one of Shih Lo's genera!^ i named Kuo Hei-liieh ( $p $ iqi ) was a fervent believer in Buddhism. T'u-ch'eng took a chance and called on KUO who introduced him to Shih Lo. Finding that Shih LO was too uneducated to understand the higher principles of Buddhitm, T'u-ch'eng showed him his magic art. This greatly pleased the general who asked him to stay in the army. He then persuaded Shih Lo not to kill innocent persons. In this way he saved a countless number of

30 STORIES IN CHINESE PAINTINGS, 111 STORIES IN CHINESE PAINTINGS, 111 lives and succeeded in bringing Buddhism into great Huang (A.D ) of the T'ang dynasty. He was a popularity in, the north which later came under the man of wide learning and lived in seclusion on the Sung control of Shih Lo. This picture shows the priest FO Mountain. He had refused twice the invitations of the T'u-ch'cng seated on a rock in meditation and General emperor to come to the capital and it was only in the Shih Lo with an attendant standing in front of him. fifth year of K'ai YUW (A.D. 717) when the emperor was BODHIDHARMA FACING THE WALL in Loyang, the Eastern Capital, that a third invitation &?@&i%!e?l was sent to him in which the imperial mandate was By the priest Shih-hsi ( b % ), Sung Hsii ( % %! ), Sun worded very strongly that he went to see the emperor. K'o-hung ( B K 3L ), and Ting Yun-ping ( T S 8$ ), He was entertained in the Palace and was appointed a Censor but declined to ad. He was thereupon allowed Ming Dynasty. to return to his retreat with a yearly allowance and the Tradition says that Bodhidharma came by sea from right to submit his views on government affairs. The India in the first year of P'u T'ung (A.D. 520) of the emperor presented him with a hermit's robe and his Liang dynasty, but Dr. Hu Shih gives the date as about houses were enlarged with government money. Here he A.D He visited the emperor Wu Ti of Llang at taught and it is said that at one time his students Nanking and then left for the capital of the Northern Wei numbered as many as 500. The ten views given in the at Loyang. He lived in the Shao Lin Temple ( 'I' %* ) painting are : on the Sung Mountain where he sat with his face to a 1. "The Thatched House" ( + S ) is a small wall for fully nine years. This is called "wall contemthatched house behind rocks and trees enclosed by a plation" and has been considered by Buddhists in China fence. Lu with a book in his left hand is seated in the such a great achievement that it has become a popular middle of the room. subject in painting. 2. "The Uppermost Terrace" ( E4 A1 S) is a high COLLATION OF BOOKS mountain peak which has a top resembling a terrace, t'ai. dl?!3.)3esi8 Lu is shown standing on the peak with a staff in hand By Yen Li-pen ( RB 12 d; ), T'ang Dynasty. enjoying the surrounding views. In the 7th year of T'ien Pao (A.D. 556) of the 3. "A Tree-Covered House" ( 684 B ) is a small Northern Ch'i dynasty, Fan Sun ( % S ) was ordered to pavilion in the woods. It was built with material found collate all the books in the imperial collection for the use on the spot. Lu is seated in the pavilion alone. of the heir apparent. In this work Fan Sun obtainedthe 4. "The Courtyard in the Mist" (& il 81 ) is a help of eleven other scholars of his time, viz. Kao Ch'ien- solitary peak rising up high on the side of a stream. Lu ho ( & $i +n ), Ma Ching-t6 ( i% 6e ), Hsu San-ch'ou is shown standing on the top of the peak with a staff in ( A &% ), Han T'ung-pao ( S El W ), Fu Huai-t.4 ( t@ his hand. 151 a), Ku Tao-tzii ( X 33 3 ), Li Han-tzii (P E 3), Pao 5. "The Stream of Brocade" ( S? ) is a stream Ch'ang-hsuan ( $B B B ), Ching Sun ( rft tr ), Wang rushing down over the rocks. The clear water beating Chiu-yuan ( 5 h 5 ) and Chou Tzii-sh6n ( 3 ff ), and against the rocks was so dazzling that it looked like borrowed the books in the collections of Hsing Tzfi-ts'ai brocade. Lu is seated by the side of the stream watching ( % 3 3 ) and Wei Shu ( R 8 ). The picture shows the turbulent water. these twelve men at work. 6. "The Path of the Immortals" ( Dl fill ng!) is TEN VIEWS OF THE THATCHED COTTAGE OF LU HUNG steep mountain path running up the mountains to such a!z%t$f-%ia height that it was thought that there the immortals would By Lu Hung, T'ang Dynasty. and Copied by an be found. unknown artzst of the Sung Dynasty. 7. "The Rock for the Cleansing of Sorrows" ( itz Ki Lu Hung, as he is called in the Old T'ang History. ) is a huge rock in a mountain stream with turbulent Lu Hung-i of the New, lived during the reign of Ming waters running around it in their downward flow. Lu is shown seated on the rock playing a lute. It was such

31 92 STORIES IN CHINESE PAINTINGS, 111 a quiet place that the wise man who would sit there would have all his sorrows washed away. 8. "A Courtyard of Thick Leaves" ( X % E ) is a place in a mountain gorge where the woods are thick. Lu is shown with a friend seated on rocks under the trees. 9. "The Room of Truth" (%I 76 % ) is a cave cut in a rock. It is a place well suited for meditation. Lu is shown with a friend seated on the ground. 10. "The Dazzling Pool" ( t% f? F2 ) is a pool of clear water in the rocks. The water is so clear that it dazzles the eyes. Lu is seated on a rock under three trees by the side of the pool. THE THATCHED COTTAGE OF LU HUNG B%e.%B By an unknown artist of the T'ang Dynasty, Wang Mang (X 5 ), L'ua~z Dynasty, and Wrcng Hui (3-9 ), Ch'ing Dynasty. This shows a peaceful country home. Lu Hung is seated in the front hall with an attendant stand~ng at, the siq. His wife and children are in the hall at the back. On a small bridge in 'the road leading to his house is a friend coming to see him accompanied by a servant. CARRYING THE WINECUP IN THE MOUTH %%tq.1z2., By Wang Ch'i-han ( E %$ BW ), Fire Dynasties. Li Shih-chih ( % 2) was the Left Minister of State during the reign of Ming Huang of the T'ang dynasty and was one of the eight Immortals of the Winecup. In the poem by Tu Fu on these eight immortals the following three lines are devoted to him: %*EBBRA@ 61C 90 I4 ffi E fi JII %i%%%r?se "The Left Minister of State s~ends cash everv day. He drinks like a huge whale sucking up the waters from the rivers. He would toast his own resignation in favour of a wise official." This picture shows the Left Minister of State on a couch with a large winecup raised to his lips. Before him on a table are a wine jar and two dishes. There are two attendants standing at the side wlth strings of cash on their shoulders. STORIES IN CHINESE PAINTINGS, III 93 THE BANISHED IMMORTAL ENJOYING THE MOON ~4maa By Hsieh Shih-ch't?n ( ;Bt sb- E ), Ming Dynasty. The Banished Immortal is a name that was given to the great poet Li Po h) by Ho Chih-chang ( x ). In his well-known poem on wine drinking, Li Po said that he, the moon and his own shadow would make a group of three. This picture shows Li Po in a small boat raising his winecup to the moon. L1 PO RIDING THE WHALE *a@& By an unknown artist of the Sung Dynasty. According to the Cht? Yen (B S ) Li Po was drowned in the Yangtze at the Ts'ai Shih Promontory ( s %) below Wuhu. In a fit of intoxication he jumped overboard from his small boat in an attempt to catch the reflection of the moon in the water. As he was considered to be a superman the story was started that he did not die but caught a whale and ascended to heaven. This picture shows Li Po riding a queer looking fish with an animal head and two large wing-like fins. KUO TZU-I WINNING THE ALLEGIANCE OF THE WIGOURS gaf&g@@sb By an unknown artist of the Sung Dynasty. Kuo Tzii-i (A.D ) was the famous general of the T'ang dynasty who was chiefly responsible for the recovery of the empire from the hands of the revolting An Lu-shan and his followers. During his lifetime the eunuchs had great power and the court was filled with corruption. Kuo Tzii-i was too honest to be able to keep on good terms with them and he therefore constantly found himself deprived of power. It was only when trouble was near at hand that his help was asked. In the first year of Yung T'ai (A.D. 765) of the reign of Tai Tsung, an army of Turfans, Wigours and other bandits numbering over 300,000 invaded Ch'ang-an at the instigation of P'u-ku Huai-@n Bl ljl.% ), a general of great ability who came from the Wigours and served the T'angs in the wars against An Lu-shan. P'u-ku declared independence on account of injustice done him by the eunuchs. The capital was surrounded on all three sides and Kuo Tzi?-i, who was at the time in Ho-chung,

32 94 STORIES IN CHINESE PAINTINGS, 111 southern Shansi, was summoned to the rescue. Kuo Tzii-i had only 10,000 men under his command and as soon as he reached Chin-yang ( rli! ke ) was surrounded by a countless number of the invading tribes. He managed with his small army to hold his own, and!he enemies failing to rout him, sent a messenger to inqulre who the commander was. He disclosed his name and the besiegers, who happened to be the Wigours, expressed great surprise. They said that they were told by P'u-ku Huai-8n that Kuo had died. These Wigours were great friends of Kuo Td-i, for they had helped him in his wars against An Lu-shan. Kuo sent a messenger in return and told them that they were unwise in breaking their long friendship with the T'angs by helping a traitor. They replied that they had done so only on being told of his death. Kuo then decided that the only thing to do was for him to go to the Wigours himself and try to win back their allegiance. His commanders did not want him to go, fearing that the Wigours might do him harm, but he said that there was nothing else to do, for their small army could not hold out much longer. He mounted hi horse and then rode to the camp of the Wigours, who refeived him with great joy. They agreed to turn their spears against the Turfans and thus, in a day, the situation was entirely changed and the capital was safe again. This picture shows Kuo Tzh-i dismounting before? huge crowd of armed Wigours. A portrait of Kuo Tih-1 is described in my Chinese Painting, p. 66. P'AN KU %&EH By Chang Tun-li ( E 3 ), and Wdn T'ung ( 3 W ), Sung Dynasty. P'an Ku is a valley on the south side of the T'ai Hang ( k ) range of mountains in Chi-yuan-hsien ( itp igi N ) in Honan in which was the mountain retreat of Li Yuan (+ P: ) of the T'ang dynasty. Li Yuan was a friend of the great Confucianist scholar Han Yu (B ) who wrote an essay on the occasion of the departure of Li Yuan for the P'an Ku ( S + P: Ei S & fi ). It was on account of this famous essay that P'an Ku became famous and has been used as a subject in painting. This picture shows a mountain valley with dense forests in which is the hut of Li Yuan who is seen seated in the main hall with an attendant. STORIES IN CHINESE PAINTINGS, 111 THE GARDEN FOR PERSONAL ENJOYMENT ~%~~ By Ch'iu Ying (a +% ), Ming Dynasty. This was the garden built by Ssii Ma-kuang ( El S ) at Lo-yamg when he was Governor of the Western ' Capital. It is said to have covered an area of twenty mow. This picture shows only a part of it. In it Ssuma Kuang is shown seated on the trunk of a large cypress tree which curves out over a small stream. THE SOUND OF AUTUMN kk%etb By W&n Po-jdn ( % tb C ), Ming Dynasty. The famous poem on the sound of autumn by Ouyang Hsiu ( 61; B& ) commences with the statement that as he was reading one night he heard a sound to the southwest of his house. At first it was very low but gradually grew stronger and sounded like a tidal bore or a rainstorm or the marching of silent mounted soldiers. He then told his servant to go out and see what was happening. The servant on his return said that the moon and the stars were bright and clear and that the Milky Way hung luminously on the sky. The sound was not that of a human voice and only came from the trees. Ou-yang then understood that it was the murmur of apwoaching autumn and proceeded to write his poem on it. This picture shows the poet in a thatched hut around which are trees swaying with the rising wind. HALL DAYLIGHT BROCADE P%*E@ By Ch'iu Ying, Ming Dynasty. This peculiar name was given to a building in the residence which Han Ch'i ( %'8 ) built for himself in the southeastern environs of his native city of An-yang, Honan province. Han Ch'i (A.D ) had risen to the high honour of being ennobled as a Duke and later as a Prince. When some of his friends heard of this new building they suggested this name. It was taken from a story of Hsiang Yu ( B.c.), of whom it was said that although he had achieved such a brilliant career elsewhere, his fame was not known to the people of his native district of Ch'u. As far as they were concerned, he was like a man wearing a garment of rich brocade during the darkness of night-time when no one could see it. This new builaing of Han Ch'i in his native place

33 96 STORIES IN CHINESE PAINTINGS, 111 would prevent such disregard in his case. All of his neighbours would have a chance of knowing his power when they saw this splendid building, and hence it resembled brocade worn in the daylight when its beauty could be seen-chou chin t'ang. The fame of this hall has been celebrated in poetry by Ou-yang Hsiu who at one time was secretary to Han Ch'i. ARCHERY IS NO MYSTERY i t b W 5 ~ By Li An-je'n (S=Se). Ch'6n Yao-tzfi E B S7 ), who iived during the first part of the Sung dynasty, was both a scholar and a warrior. In the literary examination for the highest degree during the reign of Hsien P'ing (A.D ) he stood first. After holding various civil offices, he also served as Commander in several milita* districts. He was especially skilled in archery and for this reason he used to call himself Yu-chi the Second ( 6 rb & ), this being a reference to the skilful archer Yang Yu-chi ( % rtl $5 ) of the State of Ch'u who could pierce a willow-leaf at a distanpe of 100 paces. It is said that one day, when Ch'gn was practising, an old oil peddler stopped and watched him. The old man seeing the exactness of the shooting expressed no curiosity but simply nodded his head with a smile. Ch'gn was surprised and asked if he knew how to shoot. The old man replied that he did not, but that such skill as he had just seen was only learned from long training such as he himself had in oil selling. He put a bottle on the ground and covered the mouth of the bottle with a cash which had a hole in the center. Drawing out some oil from the jar with a ladle he dropped it into the bottle through the hole of the cash with precision that none of it stuck. This picture shows the old oil peddler demonstrating his skill... -,..... By Chou Ch'e'n ( El $. ), Ch'iu Ying ( th %), and T'ang Yin ( E Z ), Ming Dynasty. Yii Shih ( % a ) was a native of Wu-hsien, Kiangsu, and lived during the reign of Hung Chih (A.D ) of the Ming dynasty. She married Ku Ch'un ( Wi ;Tf ), a student of the same district. After the birth of their two sons the husband became very ill and on his death bed STORIES IN CHINESE PAINTINGS, asked his wife not to remarry but to keep her good name and look after the children. She was so devoted to him that she readily promised and in order to seal it grasped a pair of scissors and thrust it into her left eye. As she was about to ut out her right one, also, she was stopped by her mot&-in-law who reminded her that she must keep one eye in order to be able to look after her children. This was considered a deed of such great honour to the district that it was recorded in the Topographical Records of Soochow. The event was also painted by the great artists of the time, each depicting the phase of the story which impressed him. In the picture by Chou Ch'cn there is a white-haired woman with a staff seated in a chair. In one hand she has a branch of cassia. On the other side is a middleaged woman with one blind eye holding a baby which is reaching out to grasp the flower from his grandmother. In the painting by Ch'iu Ying our heroine is seen with one Injured eye and a pair of scissors in her left hand. The mother-in-law is waving her hand at her in protest. T'ang Yin's picture was a night scene. The mother is seated on a stool near a table on which is an oil lamp. She is teaching her young son who stands at her side. THREE FRIENDS IN WINTER B%=& By Chao Mgng-chien ( B Z % ), Sung Dynmty, Cha Ching (* S), Yuan Dynasty, and Wang Hui (Zt), and Huang Ting (SB), Ch'ing Dgpru~sty. Pine, bamboo and prunus are considered to be the three great friends of the winter months. They are sometimes painted as full grown trees in a landscape, and again only small branches of these plants are shown. LONG LIFE TO YOU 32SE Bv Yano Po-hshn ( % t& tr9 ), Ch'ing Dynastv " The name of this painting is Mao Tieh. An old person of from eiqhty to ninety may be called mao (3) and from seventy to eighty tieh (8). These are terms used ir birthday connratulations to old persons. But words of similar soun& also mean cats and butterflies and the Chinese are fond of manufacturing phonetic tropes and T