BOOK REVIEWS
of George Eumorfopolos edited by Professor Perceval Yetts is certainly representative; and with respect to the latter, a good ex- ample is the first volume of the catalogue about the Charles Selig- man Collection," on Chinese, Central Asian and Luristan bronzes, edited by Professor Howard Hansford.
Professor Li's latest publication, although independently asso- ciated with a book title, yet, by its nature, should be classified as an illustrated catalogue about a private collection of Chinese art. since every item discussed by the author in Volume I and illustrated in Volume II is from the collection of Dr Charles Drenowaltz in Switzerland.
Volume I consists of 15 chapters. I propose to give a brief sum- mary for each chapter before presenting other remarks about this book in this review. Chapter I:
Chapter II:
Chapter III:
Chapter IV:
Chapter V:
"Introduction", gives a general account of how European collectors built up their collections of Chinese art. It also gives a survey of the general development of Chinese painting. "Figure painting: Persistences and Transformation of the past", Here the central discussion is focussed on figure paintings by Chao Liu (ca. 1350-1370) of the late Yuan Dynasty, and Hsieh Shih-chen (1487- after 1567), Chen Hung-shou (1599-1652) and Ting Yün-peng (b. 1547) of the Ming Dynasty; also Chao Yuan of the late Ch'ing Dynasty. "Landscape painting of Ming and Ch'ing: A point of view", serves as a general introduction to this branch of Chinese painting over some 500 years. "The Wu School: Re-establishment of the Yuan Tradition", emphasis is laid upon works by five literati artists of the Ming Dynasty; Shen Chou (1427-1509), Wen Cheng-ming (1470-1559), Lu Chih (1496-1576), Ch'en Kuan (ca. 1570-1640). In addition, works by artists of the school of T'ang Yin (1470-1523), and an album painting by an anonymous artist are also discussed.
"The Wu School in the Seventeenth century: A Host of Little Masters", points of view are based on works by the following seven artists: Ch'en Kuan, Ch'en Huan (act. 1600-20), Chang Hung
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BOOK REVIEWS
of George Eumorfopolos edited by Professor Perceval Yetts is certainly representative; and with respect to the latter, a good ex- ample is the first volume of the catalogue about the Charles Selig- man Collection," on Chinese, Central Asian and Luristan bronzes, edited by Professor Howard Hansford.
Professor Li's latest publication, although independently asso- ciated with a book title, yet, by its nature, should be classified as an illustrated catalogue about a private collection of Chinese art. since every item discussed by the author in Volume I and illustrated in Volume II is from the collection of Dr Charles Drenowaltz in Switzerland.
Volume I consists of 15 chapters. I propose to give a brief sum- mary for each chapter before presenting other remarks about this book in this review. Chapter I:
Chapter II:
Chapter III:
Chapter IV:
Chapter V:
"Introduction", gives a general account of how European collectors built up their collections of Chinese art. It also gives a survey of the general development of Chinese painting. "Figure painting: Persistences and Transformation of the past", Here the central discussion is focussed on figure paintings by Chao Liu (ca. 1350-1370) of the late Yuan Dynasty, and Hsieh Shih-chen (1487- after 1567), Chen Hung-shou (1599-1652) and Ting Yün-peng (b. 1547) of the Ming Dynasty; also Chao Yuan of the late Ch'ing Dynasty. "Landscape painting of Ming and Ch'ing: A point of view", serves as a general introduction to this branch of Chinese painting over some 500 years. "The Wu School: Re-establishment of the Yuan Tradition", emphasis is laid upon works by five literati artists of the Ming Dynasty; Shen Chou (1427-1509), Wen Cheng-ming (1470-1559), Lu Chih (1496-1576), Ch'en Kuan (ca. 1570-1640). In addition, works by artists of the school of T'ang Yin (1470-1523), and an album painting by an anonymous artist are also discussed.
"The Wu School in the Seventeenth century: A Host of Little Masters", points of view are based on works by the following seven artists: Ch'en Kuan, Ch'en Huan (act. 1600-20), Chang Hung
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