BOOK REVIEWS
343
in this new publication, the subject being discussed by Ch'eng Wei is only one of many aspects of Chinese painting.
44 Such as (A) in Chapter X whether Chiao Ping-chen should be regarded as an artist of the Yu-shan school, and (B) in Chapter IV, whether Mo Shih-lung's chronology is to be rendered as ca. 1540-1587. Undoubtedly the chronology which appears in Professor Li's book is far more reasonable than ca. 1567-1582, the impossible chronology suggested by C. C. Wang and Victoria Contag in their Seals of Chinese painters and collectors of the Ming and Ch'ing Periods (1966, Hong Kong), p. 134. Nevertheless, for many years Mo Shih-lung's chronology has always been a puzzle to students of Chinese art. No one so far, except Professor Li, has so explicitly pointed out the years of birth and death of this artist. For example, in Nan-ching po-mu-yüan tsang-hua-chi, Chinese paintings in the collection of the Nanking Museum (1966, Peking), Vol. I, p. 3, the editor was able only to find Mo Shih-lung's death was in 1587. In Professor Li's book, this artist's year of death agrees with what the Nanking specialists have found. About Mo's year of birth, Vol. I, p. 106 states, "he must have been born around 1540, though the precise date is not known", so it seems that 1540-1587 is a tentative calculation. However, students of Chinese art would feel grateful if Professor Li could give his original information and state that on what ground this chronology is obtained.
THE
SANDALWOOD MOUNTAINS; READINGS AND STORIES OF THE EARLY CHINESE IN HAWAII: compiled and edited by Tin-Yuke Char, pp. xv, 359. Honolulu, University Press of Hawaii 1975.
“Yum sai see yuen.” “When drinking water, think of the source." This ancient Chinese proverb came to mind as I read Mr. Char's compilation, The Sandalwood Mountains.
This is a monumental book—a monument to the Chinese who came to Hawaii in the early 1800s to start the first sugar plantations there and who later came in the tens of thousands in the latter third of the 19th century.
Many of these early Chinese laborers were brought to Hawaii indentured for three to five years at a cost of $5 to $7 a month, including pay and support. Many of them later left to start their own rice plantations and other agricultural pursuits. Others left to go into retailing and service industries. Many lived to see their children and grandchildren become teachers, professional people, political leaders and thoroughly integrated into Hawaii's multi-racial life.
The book is also a monument to the compiler, Tin-Yuke Char, who has brought to his task an unusual background including studying and teaching in Hawaii, China and the mainland United
BOOK REVIEWS
343
in this new publication, the subject being discussed by Ch'eng Wei is only one of many aspects of Chinese painting.
44 Such as (A) in Chapter X whether Chiao Ping-chen should be regarded as an artist of the Yu-shan school, and (B) in Chapter IV, whether Mo Shih-lung's chronology is to be rendered as ca. 1540-1587. Undoubtedly the chronology which appears in Professor Li's book is far more reasonable than ca. 1567-1582, the impossible chronology suggested by C. C. Wang and Victoria Contag in their Seals of Chinese painters and collectors of the Ming and Ch'ing Periods (1966, Hong Kong), p. 134. Nevertheless, for many years Mo Shih-lung's chronology has always been a puzzle to students of Chinese art. No one so far, except Professor Li, has so explicitly pointed out the years of birth and death of this artist. For example, in Nan-ching po-mu-yшlan tsang-hua-chi, #*#*£*£*, "Chinese paintings in the collection of the Nanking Museum" (1966, Peking), Vol. I, p. 3, the editor was able only to find Mo Shih-lung's death was in 1587. In Professor Li's book, this artist's year of death agrees with what the Nanking specialists have found. About Mo's year of birth, Vol. I, p. 106 states, "he must have been born around 1540, though the precise date is not known", so it seems that 1540-1587 is a tentative calculation. However, students of Chinese art would feel grateful if Professor Li could give his original information and state that on what ground this chronology is obtained.
THE
SANDALWOOD MOUNTAINS; READINGS AND STORIES OF THE EARLY CHINESE IN HAWAII: compiled and edited by Tin-Yuke Char, pp. xv, 359. Honolulu, University Press of Hawaii 1975.
“Yum sai see yuen.” ✯kg “When drinking water, think of the source." This ancient Chinese proverb came to mind as I read Mr. Char's compilation, The Sandalwood Mountains.
This is a monumental book-a monument to the Chinese who came to Hawaii in the early 1800s to start the first sugar plantations there and who later came in the tens of thousands in the latter third of the 19th century.
Many of these early Chinese laborers were brought to Hawaii indentured for three to five years at a cost of $5 to $7 a month, including pay and support. Many of them later left to start their own rice plantations and other agricultural pursuits. Others left to go into retailing and service industries. Many lived to see their children and grandchildren become teachers, professional people, political leaders and thoroughly integrated into Hawaii's multi- racial life.
The book is also a monument to the compiler, Tin-Yuke Char, who has brought to his task an unusual background including studying and teaching in Hawaii, China and the mainland United
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