Social status and art collecting: the collections of Shen Zhou and Wang Zhen

105. Xu Qin, 2:25; and Zhu Mouyin, 4:21a.

106. The inscribed poem is reproduced clearly in Huaian, 4.

107. See Cahill, 1988, 38, 55; and Cahill, 1992, 4.

108. For the one by Li Zai, see Huaian, pl. 5; and Zhongguo meishu quanji, no. 23. For He Cheng's, see Xu Bangda, pl. 5.3 (before restoration); Liscomb, 1994, fig. 23; Huaian, pl. 3; and Zhongguo meishu quanji, no. 52. For He Cheng, see also Barnhart, 64-65, no. 20.

109. Cahill, 1992, 4.

110. S. Nelson, "I-p'in in Later Painting Criticism," in Theories of the Arts in China, ed. S. Bush and C. Murck, Princeton, N.J., 1983, 399-402, discusses late 16th- and 17th-century portrayals of Mi Fu's persona as eccentric yet relaxed and natural. Peter Sturman, "Mi Youren and the Inherited Literati Tradition: Dimensions of Ink-Play," Ph.D. diss., Yale University, 1989, discusses the association of Mi Fu's paintings with a personality seen by his contemporaries as unconventional and unbridled (92-93, 103, 210) and the father and son's conscious identification with Jiangnan, especially with the family home in Zhenjiang, Jiangsu (88-89, 126, passim).

111. See Huaian, pl. 12; and Liscomb, 1994, fig. 6. For a different painting by Huang, see Rogers, 167, no. 46.

112. Du Qiong, 132, said Zhao was competent in all genres, but was famous only for his paintings of tigers. Goodrich and Fang, 1121-22, s.v. Pien Wen-chin (Bian Wenjin), quote a passage from the Changzhou zhi: "the human figures of Chiang Tz'u-ch'eng, the tigers of Chao Lien [Zhao Lian] and the plummage of Pien Wen-chin were collectively known as the three wonders of the age."

113. See Huaian, pl. 22; Levenson, no. 307; and Liscomb, 1994, fig. 4.

114. Zhongwen da cidian, Taipei, 1980, VI, 853, s.v. baihu.

115. See Mu Yiqin, Mingdai gongting yu Zhepai huihua xuanji, Beijing, 1983, col. pl. 1; Zhonghua wuqian nian wenwu jikan, Ming hua, pt. 1, Taipei, 1987, no. 11, 119-22; and Liscomb, 1992, 236-37, fig. 11. Du Qiong, 132, said that Guo's position as official in charge of ceremonies of court audience was due to his talent for painting.

116. Du Qiong, 150-52. See also Barnhart, 67-68, fig. 35; and Liscomb, 1992, 235-36, fig. 9.

117. Liscomb, 1992, 238-39.

118. Du referred to himself as Shen Yu's student, 150-52. Zhang Chang, 13:26b, notes that Shen Heng and Shen Zhen had studied painting with Shen Yu and that the two brothers were skilled in painting green and gold landscapes. Shen Yu depicted himself at Shen Cheng's estate enjoying a party with their mutual friends.

119. See Huaian, pl. 16; Zhongguo meishu quanji, no. 58; and Levenson, no. 306. This theme and its related customs are discussed by Stephen Little, "The Demon Queller and the Art of Qiu Ying (Ch'iu Ying)," Artibus Asiae, XLVI, 1985, 5-79.

120. Cahill, 1992, 3-4.

121. For textual evidence and sources of reproductions of extant works by Yin family artists, see Liscomb, 1994, 26.

122. See Huaian, pl. 6; and Zhongguo meishu quanji, no. 24. For a translation, see Liscomb, 1994, 13.

123. For further information, see Ishida, 73-114; and Liscomb, 1992, 243, 245-46, figs. 15, 19, 20. Jin Xuan obtained his title and rank as an extension of his son's status; he did not actually serve in the post.