# FIVE ART CATALOGUES
99
differed somewhat from the two catalogues of Sun and Kao, by the time Kung Kuang-tao compiled his art catalogue, the editing method he adopted seemed to be, if not a continuation of that used in Sun's Kêng-tzŭ hsiao-hsia-chi and Kao's Chiang-ts'un hsiao-hsia-lu, at least unrelated to Pien Yung-yü's Shih-ku-t'ang hua-k'ao.
In a word, although these five Kwangtung art collectors had adopted a new editing system in their catalogues, they had not referred to the work of the compiler who first introduced this system. This is no different from one who counts the records but has forgotten one's ancestors, and can but be regarded as a very unreasonable incident in the history of art catalogue compilation.
## III
## Defects in the Catalogues
As mentioned above, though the five Kwangtung collectors' catalogues were all compiled by following the new editing method introduced in the compilation of art catalogue, it should be pointed out here that they are not without shortcomings and errors. These, on the whole, can be divided into 3 types, namely: unsuitable compilation method, carelessness in proof-reading, as well as erroneous chronology. Each of these will be discussed below.
### A. Unsuitable Compilation Method
In Wu Yung-kuang's Hsin-ch'ou hsiao-hsia-chi, paintings done by the same artist are mostly grouped together. However Wu had at least in two instances separately recorded the paintings of two artists. As a result, the reader would feel rather confused when using this catalogue. For example, this catalogue has recorded two paintings by Ni Tsan (1301-1374) in chüan 4. One of these, the Yu-po-t'an-hua-t'u appears in chüan 4, p. 22b, and the other, Ho-lin-t'u, on p. 41a of the same chüan. They are thus nearly twenty pages apart. Between these two paintings, Wu recorded accordingly the hanging scrolls of calligraphy respectively done by Kung Su, Fêng Hai-su and Nao Nao, as well as a handscroll including calligraphies written by Liu Yu-ch'ing, Fan Kuo, Ouyang Ying, Yü Chi, Wu Ch'uan-chieh, Yü-fu-t'u, and Liu Kuan. In addition, in the space of nearly twenty pages, Wu also recorded Wu Chen's and Wang Fu's (1362-1416).
Page 105
Page 106
FIVE ART CATALOGUES
99
differed somewhat from the two catalogues of Sun and Kao, by the time Kung Kuang-tao compiled his art catalogue, the editing me- thod he adopted seemed to be, if not a continuation of that used in Sun's Kêng-tzů hsiao-hsia-chi and Kao's Chiang-ts'un hsiao-hsia-lu, at least unrelated to Pien Yung-yü's Shih-ku-t'ang hua-k'ao.
In a word, although these five Kwangtung art collectors had adopted a new editing system in their catalogues, they had not referred to the work of the compiler who first introduced this system. This is no different from one who counts the records but has forgotten one's ancestors, and can but be regarded as a very unreasonable incident in the history of art catalogue compilation.
III
Defects in the Catalogues
As mentioned above, though the five Kwangtung collectors' ca- talogues were all compiled by following the new editing method introduced in the compilation of art catalogue, it should be pointed out here that they are not without shortcomings and errors. These, on the whole, can be divided into 3 types, namely: unsuitable com- pilation method, carelessness in proof-reading, as well as erroneous chronology. Each of these will be discussed below.
A. Unsuitable Compilation Method
In Wu Yung-kuang's Hsin-ch'ou hsiao-hsia-chi, paintings done by the same artist are mostly grouped together. However Wu had at least in two instances separately recorded the paintings of two artists. As a result, the reader would feel rather confused when using this catalogue. For example, this catalogue has recorded two paintings by Ni Tsan (1301-1374) in chüan 4. One of these, the Yu-po-t'an-hua-t'u 444 41⁄2 appears in chüan 4, p. 22b, and the other, Ho-lin-t'u ✯✯, on p. 41a of the same chüan. They are thus nearly twenty pages apart. Between these two paintings, Wu recorded accordingly the hanging scrolls of calligraphy respec- tively done by Kung Su, Fêng Hai-su and Nao Nao
, as well as a handscroll including calligraphies written by Liu Yu-ch'ing劉有慶,Fan Kuo泡样, Ouyang Ying 歐陽庭, Yü Chi 虞 *, Wu Ch'uan-chieh
the space of nearly twenty ✯ (1280-1354) Yü-fu-t'u
and Liu Kuan . In addition, in pages, Wu also recorded Wu Chen's
✯ and Wang Fu's £ (1362-1416)
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