FIVE ART CATALOGUES
The next catalogue completed soon after the Fêng-man-lou shu- hua-lu and Hsin-ch'ou hsiao-hsia-chi was Pan Chêng-wei's T'ing- fêng-lou shu-hua-chi. One paragraph in the preface is of particular importance here,
It was Tu Mu's Yü-i-pien which initiated the practice of select- ing paintings and calligraphies belonging to masters of past dynasties, and cataloguing them in one chronicle. After that, the most distinguished works were Chu Ts'un-li's San-hu mu-nan and Chang Ch'ou's ## Ch'ing-ho shu-hua-fang **★✰★ · In our period, there was Sun Ch’êng-chê's Kêng-tzu hsiao-hsia- chi, in which in addition to his own collection, Sun also includ- ed records of other people's collections. Then there was Kao Shih-ch'ï's Chiang-ts'un hsiao-hsia-lu in which Kao entered de- tails such as the material used (whether paper or silk), the for- mat (album or scroll), the measurements (the length and breadth) of paintings that he had seen, and a full record of all his colo- phons was also given. Recently the minister Wu Yung-kuang has edited a catalogue entitled Hsin-ch'ou hsiao-hsia-chi in which he adopted the system set down by Sun Ch'êng-chê and Kao Shih-ch'i. He has also selected a few items from my own collection and included them in his work. Moreover, he urged me to compile a catalogue for my own collection and have it published. Thus, following his way, I edited this book.
In this preface by Pan, there are a few points worth our notice: Firstly, among the art catalogues compiled in the Ch'ing dynasty, he had only mentioned Sun Ch’êng-chê's Kêng-tzu hsiao-hsia-chi and Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu. Based on this fact, either Pan was entirely ignorant of Pien Yung-yü's Shih-ku-t'ang hua-k'ao or at least he must have held it in low esteem. This atti- tude is no different from that shown by Wu and Yeh.
Secondly, although Pan Chêng-wei humbly admitted that the compilation methods of his T'ing-fan-lou shu-hua-chi followed that of Wu Yung-kuang's Hsin-ch'ou hsiao-hsia-chi, in fact, this was only a polite remark made by him. In the opening part of the Hsin- ch'ou hsiao-hsia-chi, it has been clearly stated that this catalogue was compiled by Wu Yung-kuang, but was collated jointly by his brother Wu Mi-kuang ✯ ✯ Ł. Ch’ü Shu-ch’ên # and Pen Chêng-wei. This means that in the course of compiling the Hsin- ch'ou hsiao-hsia-chi, Wu Yung-kuang had consulted Pan Chêng-wei.
FIVE ART CATALOGUES
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The next catalogue completed soon after the Fêng-man-lou shu- hua-lu and Hsin-ch'ou hsiao-hsia-chi was Pan Chêng-wei's T'ing- fêng-lou shu-hua-chi. One paragraph in the preface is of particular importance here,
It was Tu Mu's Yü-i-pien which initiated the practice of select- ing paintings and calligraphies belonging to masters of past dynasties, and cataloguing them in one chronicle. After that, the most distinguished works were Chu Ts'un-li's San-hu mu-nan and Chang Ch'ou's ## Ch'ing-ho shu-hua-fang **★✰★ · In our period, there was Sun Ch’êng-chê's Kêng-tzu hsiao-hsia- chi, in which in addition to his own collection, Sun also includ- ed records of other people's collections. Then there was Kao Shih-ch'ï's Chiang-ts'un hsiao-hsia-lu in which Kao entered de- tails such as the material used (whether paper or silk), the for- mat (album or scroll), the measurements (the length and breadth) of paintings that he had seen, and a full record of all his colo- phons was also given. Recently the minister Wu Yung-kuang has edited a catalogue entitled Hsin-ch'ou hsiao-hsia-chi in which he adopted the system set down by Sun Ch'êng-chê and Kao Shih-ch'i. He has also selected a few items from my own collection and included them in his work. Moreover, he urged me to compile a catalogue for my own collection and have it published. Thus, following his way, I edited this book.
In this preface by Pan, there are a few points worth our notice: Firstly, among the art catalogues compiled in the Ch'ing dynasty, he had only mentioned Sun Ch’êng-chê's Kêng-tzu hsiao-hsia-chi and Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu. Based on this fact, either Pan was entirely ignorant of Pien Yung-yü's Shih-ku-t'ang hua-k'ao or at least he must have held it in low esteem. This atti- tude is no different from that shown by Wu and Yeh.
Secondly, although Pan Chêng-wei humbly admitted that the compilation methods of his T'ing-fan-lou shu-hua-chi followed that of Wu Yung-kuang's Hsin-ch'ou hsiao-hsia-chi, in fact, this was only a polite remark made by him. In the opening part of the Hsin- ch'ou hsiao-hsia-chi, it has been clearly stated that this catalogue was compiled by Wu Yung-kuang, but was collated jointly by his brother Wu Mi-kuang ✯ ✯ Ł. Ch’ü Shu-ch’ên # and Pen Chêng-wei. This means that in the course of compiling the Hsin- ch'ou hsiao-hsia-chi, Wu Yung-kuang had consulted Pan Chêng-wei.
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