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art history to cross national boundaries allow us to see how these are tangibly connected,
parallel processes of understanding color perception, chemistry, and Jingdezhen porcelain.

8 Roderick Whitfield, “Ceramics in Chinese Painting,” in Imperial Taste: Chinese
Ceramics from the Percival David Foundation, ed., Rosemary Scott (San Francisco:
Chronicle Books, Los Angeles County Museum of Art, Percival David Foundation of
Chinese Art), 125-132. Hunan sheng bowuguan ಳی޲௹ي᎜, ed., Changsha
Mawangdui yihao Hanmu ڗӍ৵ˮ਼ɓ໮ဏྥ [#1 Tomb at Mawangdui, Changsha],
(Beijing: Wenwu, 1973), pl. 77. Yinan guhuaxiang shimu fajue baogao [Report on the
stone tomb with ancient engravings at Yinan], ed. Nanjing Museum and Shandong
Bureau of Antiquities (Beijing: Wenhuabu Wenwu Guanliju, 1956), pl. 83.

9
Whitfield, “Ceramics in Chinese Painting,” 126: Night Feast of Han Xizai. Handscroll,
th
ink and color on silk. Song dynasty, possibly early 12 century at the Palace Museum,
Beijing.

10 National Palace Museum, Grand View: Painting and Calligraphy From the Northern
Song Dynasty Exhibition Catalogue (Taipei: National Palace Museum, 2006) and also
National Palace Museum, Grand View: Special Exhibition on Ju Ware (Taipei: National
Palace Museum, 2006), 128, 171-175.

11 James Cahill, The Painter’s Practice: How Artists Lived and Worked in Traditional
China (New York: Columbia University Press, 1994) for a sustained critique of the
traditional division between professional and amateur painting. James Cahill, The
Compelling Image: Nature and Style in Seventeenth Century Chinese Painting,
(Cambridge, MA: Harvard University Press, 1979), 1; For a perspective on Ming dynasty
art and painting as a social practices see Timothy Brook, The Confusions of Pleasure:
Commerce and Culture in Ming China (Berkeley: University of California Press, 1998),
73; Craig Clunas, Elegant Debts: The Social Art of Wen Zhenming (London: Reaktion
Books, 2006).

12 These are the transition painters conventionally known as individualist painters who
painted scenes of seclusion, melancholy, and recluse landscapes; scholars point to these
two representative painters as individualist and thus exhibiting modernist tendencies,
perhaps showing how “China” was already modern. For an example of a Qing art history
piece of scholarship that takes this approach and makes this argument, see Jonathan Hay,
Shitao: Painting and Modernity in Early Qing China, (New York: Cambridge University
Press, 2001).

13 This long handscroll is now held in the archives and rare book collection of the
Percival David Foundation of Chinese Art in London. The actual scroll has a counterpart
held in the Victoria and Albert Museum also in London.