[
    {
        "id": 207580,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
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        "document_key": "RAS-1975",
        "page_number": 348,
        "title": "RAS-1975",
        "content_text": "BOOK REVIEWS\n\n339\n\ncontrolled the central government of the late Ming period. However, due to the expansion of the military power of the Manchus, the central activity of this Association from 1640, turns into the intellectuals' Anti-Manchu Movement.41 The fact that Hsiao Yün-ts'ung has been a member of the Reconquering Association can certainly help us to understand more about his life and personality. Although we know nothing about Hsiao's Anti-Manchu activity, a description of him as, “taking up the life of a hermit, he devoted himself to poetry, essay-writing, scholarship, and painting” (p. 177) is at least not the entire picture of Hsiao Yün-ts'ung's life. He must have been patriotic and full of the spirit of justice at one time. More likely it was only because of the triumph of the Manchus that he was forced to live as a recluse for his last 30 years. Professor Li has tended to ignore this key point in Hsiao Yün-ts'ung's life.\n\nTo conclude, in the 20th Century, in the 60 years since Stephen W. Bushell (1844-1908) published his classic Chinese Art42, due to the stimulation given by the opening of museums, the growth of private collections and a developed new interest in studying things oriental, a good number of histories of Chinese art have been written by scholars of different nationalities. None of them, however, has attempted a Chinese art history based on a single private collection,43 like Thousand Peaks and Myriad Ravines. This appears to be the first book of this kind, and despite those problems that the reviewer has already pointed out, and some other minor disputable points44, it is not inappropriate to call this book the first such publication. It is one, too, that is associated with a unique and earlier feature of writing Chinese art history, the introduction.\n\nThe reviewer suggests that as a Research Curator of the Nelson Gallery and Atkins Museum in Kansas, with its far better known collection, Professor Li should publish another such history of Chinese art, or history of Chinese painting, based on that renowned assemblage.\n\nUniversity of Hong Kong, 1976\n\nFOOTNOTES\n\nCHUANG SHEN\n\n1 For instance, the well-known collection of Mr. K. Sumitomo, is described in the illustrated and descriptive catalogue Senoku Seisho ★A★T (The collection of old bronzes of K. Sumitomo) first edited by Prof. Kosaku Hamada∗ ∗ ∗ and others in 1911. After being revised by Prof. Sueji Umehara∗ ∗ ∗ it was reprinted in 1934 in Kyoto. The additional catalogue concerning Mr. Sumitomo's new acquisitions on ancient",
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        "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d",
        "rank": 0
    },
    {
        "id": 207581,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1975",
        "page_number": 349,
        "title": "RAS-1975",
        "content_text": "340\n\nBOOK REVIEWS\n\nChinese bronze is again by Prof. S. Umehara and was separately published in Kyoto in 1961.\n\n2 The Senoku Seisho is sub-divided according to nature of bronzes, into two parts. The first part dealing with ritual vessels is by Prof. K. Hamada while the next part, devoted to Chinese bronze mirrors, is edited by Prof. Yoshito Harada.\n\n3 In addition to these catalogues about the Sumitomo collection, in 1951 Prof. S. Umehara has also edited Kakkaku Kikkin Senshu (Selected specimens of the Chinese Bronze collection in the Hakkaku Art Museum), an illustrated and descriptive catalogue on Chinese bronzes housed in a private museum possessed and financed by Mr. Jihei Kano in Kobe.\n\n4 For instance, among his various studies on ancient Chinese bronzes, there are three catalogues. The first, \"Bronzes in the Hellström Collection\", is in the Bulletin of Museum of Far Eastern Antiquities (hereafter abbreviated as BMFEA) (1948, Stockholm), No. 20, while the second, \"A catalogue of the Chinese Bronzes in the Alfred F. Pillsbury Collection\" was published in Minneapolis in 1951. The third, \"Bronzes in the Wessen Collection”, is in BMFEA, (1958, Stockholm), No. 30.\n\n5 For instance, his Fruhe chinesische Bronzen aus der Sammlung Trautmann (1939, Peking).\n\n6 For instance, the Chinese Bronzes from the Buckingham Collection, (1946, Chicago), jointly edited by M. C. Chen and Charles F. Kelley.\n\n7 Alfred Salmony (1890-1958): Archaic Chinese Jades from the Edward and Louis B. Sonnenschein Collection (1952, Chicago).\n\n8 W. Perceval Yetts (1878-1957): The Georg Eumorfopoulos Collection: Catalogue of the Chinese and Corean Bronze, Sculpture, Jade, Jewellery, and Miscellaneous objects (1929-32, London).\n\n9 Howard Hansford: The Seligman Collection of Oriental Art, Vol. I, (1957, London).\n\n10 Yoshito Yonezawa: Painting of the Ming Dynasty, (1956, Tokyo).\n\n11 Osvald Siren: Chinese painting, Vol. VII, (1958, London).\n\n12 Victoria Contag: Chinese Masters of the 17th Century (1969, London).\n\n13 The date of Hsuan-ho hua-p'u is not known. But a general date, 1120, the second year of the Hsuan-ho era during the reign of the Emperor Hui-tsung of the Northern Sung Dynasty, associated with its preface, is normally considered to be the date of completion of its compilation. Regarding its authorship, it has been previously suggested by scholars in the Ch'ing Dynasty, such as Wang Wan, as having been edited by Emperor Hui-tsung himself, and by Chou Chung-fu as being by Tsai Ti, and by Pien Yung-yu as being by Hu Kuan. But according to Yu Shao-sung, a 20th-century specialist on the historiography of Chinese art, none of these old identifications are reliable. Instead, a possible editor of this imperial catalogue is perhaps an anonymous eunuch of the Northern Sung palace. For detailed discussion see his Shu-hua shu-lu chieh ti (hereafter abbreviated SHSLCT), \"A Collection of Summary of content and Studies of Titles of Books on Chinese calligraphy and painting\", (1931, Peking).\n\n14 Although it carries a preface by the author, this book is undated. In general, as Yu Shao-sung has suggested (SHSLCT Chuan 12, p. 9), Hsu Hsin must have lived in the transitional period of Ming and Ch'ing but the book itself is written in early Ch'ing.\n\n15 See Yen-Tzu chun-chiu, Nei pien, 10th chapter of the Tsa-hsia section. This book is generally regarded as a work of the 6th century B.C.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d",
        "rank": 0
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]