286
NOTES AND QUERIES
In Chinese these two characters indicate the mountain's colour as if being lightened by the rosy sunset. According to some Chinese poetry, the sunset time seemed the most lovely time of a day.5 Thus, to Chinese mind, a red mountain is surely a term which indicates not only a poetic feeling but also suggests a painterly mood.
Based on most probably this particular literary name, Ho Chung fixed upon Tan-shan lao-jenA, ‘an elderly man in a red mountain', as his second literary name. However, the nature of his first and second literary names was too closely related. Perhaps because of this reason, he began to call himself Ch'i-shih-erh-feng lao-jen+‘an elderly man who dwells among seventy-two peaks'. This is a good literary name except it seems too clumsy. Perhaps feeling this dissatisfaction, Ho Chung fixed Yen-ch'iao jen, ‘a man on a bridge (particularly hidden) by the smoke' (which had sometime been varied as Yen-ch'iao lao-jen) as his last literary name. Judging their literary implication as well as their mysterious atmosphere, Yen-ch'iao-jen is undoubtedly much better than either Tan-shan lao-jen or Ch'i-shih-erh-feng lao-jen.
Corresponding to the number of his personal literary names, Ho Chung also had four literary names for his painting studio. His first, which was the only one recorded by writing on Kwangtung painting, was Chu-ch'ing shih-shou chih-tsai✯✯&$2★. 'A Studio which houses the emaciated bamboo and the long-lived rocks'. In addition, as could be found from his own writings inscribed on his paintings, Ho Chung's second studio name happened to be Lan-yen chu-hsiao chih-tsai✯✯✯✯, 'A studio in which the orchid speaks and the bamboo smiles (to their master)'; whilst his third was Mei-hua shan-kuan, 'a hall on the plum blooming mountain'. In fact, just as his second literary name (an elderly man of the red mountain) was derived from his first —— a red mountain - so Ho Chung's second studio name (a studio in which the orchid speaks and the bamboo smiles) is also very similar to his first studio name (a studio which houses the emaciated bamboo and the long-lived rocks). As to the 'hall on the plum blooming mountain' it has a special background. Ever since the 13th century, plum blossoms were always treated by Chinese scholars as a symbol of the incorruptness of literati”. Naming his art studio as 'a hall on the plum blooming mountain' suggested Ho Chung's personality
286
NOTES AND QUERIES
In Chinese these two characters indicate the mountain's colour as if being lightened by the rosy sunset. According to some Chinese poetry, the sunset time seemed the most lovely time of a day.5 Thus, to Chinese mind, a red mountain is surely a term which indicates not only a poetic feeling but also suggests a painterly mood.
Based on most probably this particular literary name, Ho Chung fixed upon Tan-shan lao-jen A, ‘an elderly man in a red mountain', as his second literary name. However, the nature of his first and second literary names was too closely related. Perhaps because of this reason, he began to call himself Ch'i-shih-erh-feng lao-jen +‘an elderly man who dwells among seventy- two peaks'. This is a good literary name except it seems too clumsy. Perhaps feeling this dissatisfaction, Ho Chung fixed Yen-ch'iao jen, ‘a man on a bridge (particularly hidden) by the smoke' (which had sometime been varied as Yen-ch'iao lao-jen) as his last literary name. Judging their literary implication as well as their mysterious atmosphere, Yen-ch'iao-jen is undoubtedly much better than either Tan-shan lao-jen or Ch'i-shih-erh-feng lao-jen.
Corresponding to the number of his personal literary names, Ho Chung also had four literary names for his painting studio. His first, which was the only one recorded by writing on Kwangtung painting, was Chu-ch'ing shih-shou chih-tsai ✯✯&$2★. 'A Studio which houses the emaciated bamboo and the long-lived rocks'. In addition, as could be found from his own writings in- scribed on his paintings, Ho Chung's second studio name happened to be Lan-yen chu-hsiao chih-tsai ✯✯✯✯, 'A studio in which the orchid speaks and the bamboo smiles (to their master)"; whilst his third was Mei-hua shan-kuan, 'a hall on the plum blooming mountain'. In fact, just as his second literary name (an elderly man of the red mountain) was derived from his first —— a red mountain -so Ho Chung's second studio name (a studio in which the orchid speaks and the bamboo smiles) is also very similar to his first studio name (a studio which houses the emaciated bam- boo and the long lived rocks). As to the 'hall on the plum blooming mountain' it has a special background. Ever since the 13th century, plum blossoms were always treated by Chinese scholars as a symbol of the incorruptness of literati”. Naming his art studio as 'a hall on the plum blooming mountain' suggested Ho Chung's personality
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