NOTES AND QUERIES
291
* This poetic feeling can be reflected by a Tzu poem written by Chiang Chieh # which reads:
"The rain song in youth I heard from song bedroom 樓上
red candle setting behind a satin screen *****
older and travelling I heard rain in a boat #
huge river, low clouds, ***›
a goose crying in the west wind parted from the flock. $$$
K
Now when I hear the rain, in a hermit's cell MET
my hair has long turned grey 11
sorrow, happiness, parting, joining are all neutral #46BAH raindrops all night long on the stone steps. Ħ¶¤àa¤N ·
For the English translation, see John Scott: Love and Protest (1972, London), p. 118.
9 see Wang Chao-yung, op.cit. p.7.
10 Its registration number in the Luis de Camoes Museum is AL 1 No. 10.
11 Chiang-nan is a conventionalized geographic term referring to the vast area of Kiangsu, Chekiang, An-hui and Fukien provinces.
12 See Chuang Shen op.cit. pp. 14-18. There I have pointed out that in the 19th century, the painting styles of Hua Yen and Huang Shen, two artists of Fukien, were followed by the Kwangtung artists.
13 See Chu-tsing Li: "Landscape painting in Kwangtung during Ming and Ch'ing", in Landscape paintings by Kwangtung Masters during the Ming and Ch'ing Period (published in 1973 by the Art Gallery of The Chinese University of Hong Kong, Hong Kong), p. 4.
14 Sung Kwang-pao and Meng Chuii were both artists of Kiangsu province. Followed Li Ping-shou, they came to Kwangtung during the first half of the 19th century. Later, Sung was regarded as the founder of a more laborious and decorative school, while Meng became the forerunner of a different school, less decorative, and mainly stressing the artist's inner self.
15 See Lin Po-ting *** "Brief Notes on the Taiwan painters during the Ch'ing Dynasty”滑朝台灣畫人輯系 history selected in Central Chinese culture and Taiwan AXLA÷ (1971, Taipei), pp. 531-539,
16 See Lin Po-ting: ibid, p. 535.
**MFIL
17 See Sohokaku Shogaki **M***, Descriptive catalogue of Chinese paintings and calligraphies in the possession of Bardo Asano (1864-1880), (published in 1973 by the Kansai University in Japan), pp. 143 - 144.
As to this catalogue and its editor, see also Kokuro Wakimono + A 'Notes on paintings and calligraphy in the Shohokaku Shogaki Collection and its Author Asano Baido", *NTORE *o****** The Bijutsu Kenkyu ✯ (Journal of Art Studies), No. 35 (1973, Tokyo), pp. 531 - 544.
18 See Chuang Shen: op.cit. p. 21.
University of Hong Kong,
March 1977.
CHUANG SHEN
NOTES AND QUERIES
291
* This poetic feeling can be reflected by a Tzu poem written by
Chiang Chieh # which reads:
"The rain song in youth I heard from song bedroom 94kak
樓上
red candle setting behind a satin screen *****
older and travelling I heard rain in a boat #
huge river, low clouds, ***›
a goose crying in the west wind parted from the flock. $$$
K
Now when I hear the rain, in a hermit's cell MET
my hair has long turned grey 11
sorrow, happiness, parting, joining are all neutral #46BAH raindrops all night long on the stone steps. Ħ¶¤àa¤N ·
For the English translation, see John Scott: Love and Protest (1972, London), p. 118.
9 see Wang Chao-yung, op.cit. p.7.
10 Its registration number in the Luis de Camoes Museum is AL 1 No. 10.
11 Chiang-nan is a conventionalized geographic term referring to the vast area of Kiangsu, Chekiang, An-hui and Fukien provinces.
12 See Chuang Shen op.cit. pp. 14-18. There I have pointed out that in the 19th century, the painting styles of Hua Yen and Huang Shen, two artists of Fukien, were followed by the Kwangtung artists.
13 See Chu-tsing Li: "Landscape painting in Kwangtung during Ming and Ch'ing", in Landscape paintings by Kwangtung Masters during the Ming and Ch'ing Period (published in 1973 by the Art Gallery of The Chinese University of Hong Kong, Hong Kong), p. 4.
14 Sung Kwang-pao and Meng Chuii were both artists of Kiangsu province. Followed Li Ping-shou, they came to Kwangtung during the first half of the 19th century. Later, Sung was regarded as the founder of a more laborious and decorative school, while Meng became the forerunner of a different school, less decorative, and mainly stressing the artist's inner self.
15 See Lin Po-ting *** "Brief Notes on the Taiwan painters during the Ch'ing Dynasty" A#, an essay on Taiwan art
Dynasty”滑朝台灣畫人輯系 history selected in Central Chinese culture and Taiwan AXLA÷ (1971, Taipei), pp. 531-539,
16 See Lin Po-ting: ibid, p. 535.
**MFIL
17 See Sohokaku Shogaki **M***, Descriptive catalogue of Chinese paintings and calligraphies in the possession of Bardo Asano (1864-1880), (published in 1973 by the Kansai University in Japan), pp. 143 - 144.
As to this catalogue and its editor, see also Kokuro Wakimono + A 'Notes on paintings and calligraphy in the Shohokaku Shogaki Collec tion and its Author Asano Baido", *NTORE *o****** The Bijutsu Kenkyu ✯ (Journal of Art Studies), No. 35 (1973, Tokyo), pp. 531 - 544.
18 See Chuang Shen: op.cit. p. 21.
University of Hong Kong,
March 1977.
CHUANG SHEN
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