FIVE ART CATALOGUES
93
was given about the seals and the measurements of the paintings, and often, only the names of colophon writers and seal owners were included, without any entry of the text of colophons and seals. Nevertheless these works should only be regarded as exceptional cases, since after the publication of the Shih-ku-t’ang hua-k’ao, most art catalogue compilers adopted Pien Yung-yü's editing methods.
As mentioned above, there is some difference in the editing principles employed in the five Kwangtung art catalogues; in that Yeh and Liang adopted the separate principle, while Wu, Pan and Kung adopted the joint principle. On the other hand, in the matter of editing methods, all the five catalogues are similar to most of the catalogues compiled in the Ch'ing dynasty in that detailed records of the material, size and format of a painting are given, as well as inscriptions, colophons and seals appearing on it. In other words, in compiling catalogues for their own collections, these five collectors unanimously adopted the same editing methods,
Although in actual fact, the system of including the five essential elements—material, size, format of painting, inscriptions and seals—were first initiated by Pien Yung-yü, however, according to the introductory notes of these four Kwangtung collectors' art catalogues* these elements originated not from Pien Yung-yü's Shih-ku-t'ang hua-k'ao, but from Kao Shih-ch'i's much later work, the Chiang-ts'un hsiao-hsia-lu. This point of view can be found in the introductory notes of Wu Yung-kuang's Hsin-ch'ou hsiao-hsia-chi, in which Wu wrote,
Chiang-ts'un hsiao-hsia-lu was the first catalogue that recorded the measurements of scrolls and albums of painting.
and again, Since the seals could not be copied, therefore those recorded in the Chiang-ts'un hsiao-hsia-lu were all written in the regular script and then enclosed by lines. This method is the best.
the same is adopted here.
I am living in a peaceful and prosperous period, and is thus able to while away the time beneath the woods. In every respect, I shall follow the Chiang-ts'un hsiao-hsia-lu.
* The introductory notes are not available in Yeh's catalogue.
FIVE ART CATALOGUES
93
was given about the seals and the measurements of the paintings, and often, only the names of colophon writers and seal owners were included, without any entry of the text of colophons and seals. Nevertheless these works should only be regarded as exceptional cases, since after the publication of the Shih-ku-t’ang hua-k’ao, most art catalogue compilers adopted Pien Yung-yü's editing me- thods.
As mentioned above, there is some difference in the editing prin- ciples employed in the five Kwangtung art catalogues; in that Yeh and Liang adopted the separate principle, while Wu, Pan and Kung adopted the joint principle. On the other hand, in the matter of editing methods, all the five catalogues are similar to most of the catalogues compiled in the Ch'ing dynasty in that detailed records of the material, size and format of a painting are given, as well as inscriptions, colophons and seals appearing on it. In other words, in compiling catalogues for their own collections, these five collec- tors unanimously adopted the same editing methods,
Although in actual fact, the system of including the five essen- tial elements-material, size, format of painting, inscriptions and seals—were first initiated by Pien Yung-yü, however, according to the introductory notes of these four Kwangtung collectors' art cata- logues* these elements originated not from Pien Yung-yü's Shih- ku-t'ang hua-k'ao, but from Kao Shih-ch'i's much later work, the Chiang-ts'un hsiao-hsia-lu. This point of view can be found in the introductory notes of Wu Yung-kuang's Hsin-ch'ou hsiao-hsia-chi, in which Wu wrote,
Chiang-ts'un hsiao-hsia-lu was the first catalogue that recorded the measurements of scrolls and albums of painting.
and again, Since the seals could not be copied, therefore those recorded in the Chiang-ts'un hsiao-hsia-lu were all written in the regular script and then enclosed by lines. This method is the best.
the same is adopted here.
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am living in a peaceful and prosperous period, and is thus able to while away the time beneath the woods. In every respect, I shall follow the Chiang-ts'un hsiao-hsia-lu.
* The introductory notes are not available in Yeh's catalogue.
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