Page 16 - Christie's Dec 2, 2015 Scholars Rocks, Hong Kong

ENDNOTES
1 For an excellent introduction to the scholar’s studio and the
culture of the literati, see Chu-tsing Li 李鑄晉 and James C. Y.
Watt 屈志仁 , eds., The Chinese Scholar’s Studio: Artistic Life in
the Late Ming Period, New York: The Asia Society Galleries, 1987.
2 For an introduction to Chinese scholar’s rocks, see Robert
D. Mowry 毛瑞 , Worlds Within Worlds: The Richard Rosenblum
Collection of Chinese Scholar’s rocks, Cambridge, Mass.: Harvard
University Art Museums, 1997.
3 See: Shen Kuiyi 沈揆一 , “The Shanghai-Japan Connection
in the Late Nineteenth and Beginning of the Twentieth Century”,
in Turmoil, Representation and Trends: Modern Chinese Painting,
1796–1949: International Conference Papers, Kaohsiung,
Taiwan: Kaohsiung Museum of Fine Arts, Chang Foundation,
and Michael Yun-Wen Shih, 2007, pp. 233-258 (in English with
Chinese abstract). also see, Kuiyi Shen, “The Japanese Impact
on the Construction of Chinese Art History as a Modern Field: A
Case Study of Teng Gu and Fu Baoshi”, pp. 228-244 in Joshua
A. Fogel, ed., The Role of Japan in Modern Chinese Art, Berkeley:
Global, Area, and International Archive/University of California
Press, 2012.
4 For information on early Chinese jades, see Max Loehr,
Ancient Chinese Jades from the Collection of Grenville L. Winthrop,
Cambridge, Mass.: Fogg Art Museum, Harvard University, 1975;
Jessica Rawson, Chinese Jade from the Neolithic to the Qing,
London: The British Museum, 1995.
5 See discussions in John Hay, Kernels of Energy, Bones
of Earth, pp. 18-21; Sir Percival David, ed. and trans., Chinese
Connoisseurship—The Ko Ku Yao Lun: The Essential Criteria of
Antiquities ( 格古要論 ), New York and Washington, D.C., 1971, pp.
163-65.
6 See: Edward H. Schafer, Tu Wan’s Stone Catalogue of
Cloudy Forest: A Commentary and Synopsis, Berkeley and Los
Angeles, 1961. For the original Chinese text, see: Du Wan 杜綰 ,
Yunlin shipu 雲林石譜 , juan 1 卷一 , in Meishu congshu 藝術叢書 ,
(hereinafter, MSCS), eds. Huang Binhong 黄賓虹 and Deng Shi
鄧實 , photo reprint of the 1947, 4th rev. ed., Taipei, n.d., vol. 15, Important Private Collection of Chinese Paintings and Calligraphy
3/9. Yunlin shipu was first published between 1125 and 1133.
7 For information on Chinese gardens and garden rocks,
see, Maggie Keswick, The Chinese Garden: History, Art and
Architecture, New York, 1978; Osvald Sirén, Gardens of China,
New York, 1949; Chen Congzhou, Yuanlin congtan (Collected
Chats on Gardens), Shanghai, 1980; Alfreda Murck and
Wen Fong 方聞 , A Chinese Garden Court: The Astor Court at
The Metropolitan Museum of Art, New York, 1980; originally
published in The Metropolitan Museum of Art Bulletin, Winter
1980–81); John Hay, Kernels of Energy, Bones of Earth; Edward H.
Schafer, Tu Wan’s Stone Catalogue of Cloudy Forest; Ji Cheng 計
成 , Yuanye zhushi 園冶注釋 (Notes on Garden Design), 1631, eds.
Chen Zhi 陳植 , Yang Bochao 楊伯超 , and Chen Congzhou 陳從
周 (reprinted Beijing, 1981); Sugimura Yuzō 杉村勇造 Chūgoku
no niwa 中國の庭 (Chinese Gardens), Tokyo, 1966.
14 BEYOND WHITE CLOUDS 出雲疊嶂 — 文人案頭賞石
8 Zhao Xigu 趙希鵠 referred to fantastic rocks as guaishi in his
18th-century Dongtian qinglu ji 洞天清錄 (A Record of the Pure
Registers of the Grottoed Heaven), for example, while Zhang
Yingwen 張應文 (fl. 1530–1594) and Zhang Qiande 張謙德 (Zhang
Chou 張丑 ; 1577–c. 1643) referred to them as yishi in their
Qingbicang 清秘藏 (Pure and Arcane Collecting) of circa 1595.
See, respectively, Zhao Xigu, Dongtian qinglu ji, 13th century, in
MSCS, eds. Huang Binhong and Deng Shi, photo reprint of the
1947, 4th rev. ed., Taipei, n.d., vol. 5, 1/9, p. 250; Zhang Yingwen
and Zhang Qiande (also known as Zhang Chou), Qingbicang, c.
1595, juan 1, in MSCS, eds. Huang and Deng, vol. 4, 1/8, p. 203.
9 The Chinese have traditionally shown a preference for two-
character compounds over ones of three characters. The latter
are often shortened to form two-syllable compounds; over time,
the loss of the “third” character often leads to ambiguities that
complicate exact interpretation.
10 Wu Guanghua (also listed as Wu Shaohua 吳少華 ), Qishi
shangwan 石賞玩 (Appreciating Fantastic Rocks), in Minjian
shoucang xilie 民間收藏系列 (Popular Collecting Series),
Shanghai, 1994, n.p.
11 See, for example, John Hay, Kernels of Energy, Bones of
Earth, pp. 16-17, pl. 2; Maggie Keswick, The Chinese Garden, pp.
23, pl. 19; 44, pl. 42; 112-13, pl. 104.
12 See, for example, Chu-tsing Li and James C. Y. Watt, The
Chinese Scholar’s Studio, p. 74, no. 7; Maggie Keswick, The
Chinese Garden, pp. 23, pl. 18; 74, pl. 70; Kaikodo 懷古堂 , The
Kaikodo Journal: Exhibition, 23 March–20 April 1996, New York,
1996, p. 57, no. 25.
13 See John Hay, Kernels of Energy, Bones of Earth, p. 21,
pl. 5; Maggie Keswick, The Chinese Garden, p. 74, pl. 70; Wu
Guanghua, Qishi shangwan, n.p., figs. 1, 2, 13.
14 See the unpublished garden rocks, said to be from Yunnan
province, in the collection of the Harvard Art Museums,
Cambridge, Mass. (1985.98-100). Rocks of similar appearance
are illustrated in John Hay, Kernels of Energy, Bones of Earth,
p. 24, pl. 7; Christie’s, The Chang Family Han Lu Studio: An
from 1940’s Shanghai, catalogue of an auction held at Christie’s,
New York, on Wednesday 18 September 1996, New York, 1996,
n.p., lot 39; Kaikodo, The Kaikodo Journal: Exhibition and Sale, 15
September–26 October 1996, New York, 1996, pp. 68, fig. 1; 69,
no. 28.
15 For information on Chinese display stands see: Robert D.
Mowry 毛瑞 , “Chinese Display Stands: A Brief Introduction”, in
Christie’s, Elevated Beauty: Fine Chinese Display Stands from An
Important Private American Collection, catalogue of an auction
held at Christie’s, New York, on Thursday 17 September 2015,
New York, 2015, pp. 9-17; Philip Mak, The Art of Chinese Wooden
Stands: The Songde Tang Collection, Hong Kong: University
Museum and Art Gallery, University of Hong Kong, 2008; Jan