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BOOK REVIEWS
a literary figure of the Chin Dynasty. In his biography it has been recorded that whenever he travelled alone he always tied 100 coins on top of his stick, and wherever he found a wine shop he always drank with pleasure, as much as possible. He did not care what his wife prepared for her meals.19 Juan Hsiu is stated by the same source of information as a step-son20 of Juan Chi ✯ (210-263), one of the eccentric masters of a literary circle collectively known as "the Seven Talents of the Bamboo Groves".21 Juan Hsiu's alcoholical love, therefore, might have been a reflection of the deep spiritual influence of Juan Chi.
Because of this reference, it is clear that to tie 100 coins onto a stick, could certainly be interpreted as to have some private money, which can be taken one step further to mean wine money. Thus, the literary meaning of K'un-ts'an's last line, as far as the surface implication is concerned, should read as "there is no need to take wine money to own mountains". According to such an understanding, if this line is to be rendered into English, but still taking Prof. Li's same basis for using no explanation of the term "Chang-tou", then it suggests as "I would rather take money to buy wine but not to consider a piece of land.”
A second but more weighty problem is, once again, one of identification. In the Drenowaltz collection there is a 12-leaved album of landscape painting by Chin Nung. This album is dated 1736, the first year of the Ch'ien-lung era, by the artist's own inscription. According to Prof. Li's study of Chin Nung's life, the artist was in Peking in that year, and had attempted to pass the Po-hsueh-hung-tz'u22 degree examination but failed. In this album each leaf contains a landscape painting completed in an extra elaborate manner. This is quite noticeable since the normal subject-matter of this artist, as Prof. Li has rightly pointed out, happens to be either Buddhist figures, horses, bamboo, or plum blossoms, all in ink. Moreover, such stylistic continuity achieved by the careful but conscious use of the brush in these landscapes seems to be extraordinarily unusual for Chin Nung. In addition, in each of these 12 leaves, the un-used space in each composition is always completely filled up by a good number of small but regular characters written in Chin Nung's peculiar Ch'i-shu script. The contents of these inscriptions on each leaf of this album have been identified by Prof. Li. However, this brings up a second type of problem of identification.