ABSTRACT Title of Thesis: ART FOR THE MARKET: COMMERCIALISM IN REN YI?S (1840-1895) FIGURE PAINTING Degree Candidate: Tang Li Degree and Year: Master of Arts, 2003 Thesis directed by: Professor Jason Kuo Department of Art History and Archaeology Ren Yi (1840-1895) was one of the most accomplished and influential Shanghai painters of the late nineteenth century. He produced a great deal of artwork, much of it figure painting. This thesis will examine the economic aspect of Ren Yi?s figure paintings in terms of the circumstances under which the artworks were produced, their subject matter, style, and historical background. Ren?s figure painting was done not just for art?s sake, but in a broad sense for a commercial purpose, specifically for the ready art market in Shanghai. Such commercialism is best manifested in three categories of Ren?s figure painting, i.e. portraits, narratives depicting mythological, legendary and historical figures, and genre scenes of ordinary people. The three categories of Ren?s figure painting suggest three strategies for Ren to successfully live by painting in Shanghai: (1) Making connections with influential art patrons and artists to establish himself in Shanghai, (2) catering to the tastes and needs of the populace (especially the newly rising merchants) to attract their attention and thus make a name in Shanghai, and (3) making his artwork close to reality and thus easily accessible to the common people so as to expand his potential audience and customer base. The commercialism in Ren?s figure painting was first directly related to the social, economic, and cultural circumstances in Shanghai, a city that rapidly and dramatically developed into the largest and most prosperous metropolis in the late nineteenth century. Secondly, personally, as a professional painter who lived by painting, Ren Yi had to tailor his artworks to meet the demands of his patrons and potential customers so that he could support himself. Thirdly, from an historical standpoint, the commercialism manifested in eighteenth-century Yangzhou painting, especially in artworks by Yangzhou baguai (the Eight Eccentrics of Yangzhou), had significant impact on Ren Yi?s figure painting. ART FOR THE MARKET: COMMERCIALISM IN REN YI?S (1840-1895) FIGURE PAINTING by Tang Li Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2003 Advisory Committee: Professor Jason Kuo, Chair Professor Sandy Kita Professor Marie Spiro ?Copyright by Tang Li 2003 ii DEDICATION To my parents, my elder sister and my beloved boyfriend iii ACKNOWLEDGEMENTS Many thanks should be given for those people who generously provided their help, advice and support for this thesis. To my regret, I can only mention a few of them here. First of all, I appreciate my advisor Dr. Jason Kuo?s guidance and help for developing the ideas and writing this thesis. Second, I would like to thank Dr. Kita and Dr. Spiro for their helpful suggestions. Last, but not least, I would like to thank my parents and my elder sister, for their wholehearted support of my on-going study in a foreign country. iv TABLE OF CONTENTS List of Figures ?????????????????????????? v Introduction ??????????????????????????. 1 Chapter 1: Economic, Social and Cultural Circumstances in Late Nineteenth-Century Shanghai ??????????????????????? 6 Chapter 2: A Short Biography of Ren Yi ??????????????? 16 Chapter 3: Commercialism in Ren Yi?s Figure Painting ????????? 25 Chapter 4: Historical Background of Commercialism in Ren Yi?s Figure Painting: Eighteenth-Century Yangzhou Painting ??????????? 40 Chapter 5: Conclusion ?????????????????????? 46 Figures ??????????????????????? 48 Appendix I: Chinese Texts Cited ???????????????? 67 Appendix II: A List of Ren Yi?s Figure Paintings ???????????? 69 Bibliography ????????????????????????. 117 v LIST OF FIGURES 1. Ren Yi and Hu Yuan, Portrait of Ren Songyun, 1869. Hanging scroll, ink and color on paper, 172.7 x 47.1 cm. Beijing, Palace Museum. Source: Shan Guoqiang, Ren Bonian, p.7. 48 2. Ren Yi, Dongjin huabie tu (Saying Farewell at the Ling Bridge in Ningbo), 1868. Handroll, ink and color on paper, 34.3 x 136 cm. China Art Gallery, Beijing. Source: Shan Guoqiang, Ren Bonian, p.14. 49 3. Ren Yi, Jiaolin huansu tu (Escaping the heat in the shade of banana palms), 1872. Hanging scroll. Location unknown. Source: Ding Xiyuan, Ren Bonian, p.40. 50 4. Ren Yi, Portrait of Jin Nong?s Noon Nap beneath Banana Palms, inscription dated 1760. Hanging scroll, ink and color on paper. Shanghai Museum. Source: Richard Vinograd, Boundaries of the Self: Chinese Portraits, 1600-1900, plate 13. 51 5. Ren Yi and Hu Yuan, Portrait of Gao Yongzhi at Age Twenty-eight, 1877. Hanging scroll, ink and color on paper. Shanghai Museum. Source: Shan Guoqiang, Jen Po- nien, p.20. 52 6. Ren Yi, Hengyun shanmin xingqi tu (The Hengyun Mountain Man as a raveling Beggar), 1868. Hanging scroll, ink and colors on paper, 147 x 42 cm. Central Academy of Fine Arts, Beijing. Source: Li Chu-tsing, and Wan Ching-li, Zhongguo xiandai huihua shi: Wan Qing zhibu, 1840 zhi 1911, Fig. 2.73. 53 7. Ren Yi, Sanyou tu (Three Friends), 1882. Hanging scroll, ink and color on paper, 36.1 x 63.5 cm. Palace Museum, Beijing. Source: Shan Guoqiang, Ren Bonian, p.89. 54 8. Ren Yi, Sanyou tu, inscription. 55 9. Ren Yi, Zhong Kui zhanhutu (Image of Zhong Kui killing a fox spirit), 1878. Hanging scroll, ink and color on paper, 134.3 x 65.5 cm. Museum of Art, Tianjin. Source: Xue Yongnian, Ren Bonian, p.15. 56 vi 10. Ren Yi, Image of Zhong Kui, 1887. Hanging scroll, ink and color on paper, 76 x 143 cm. Duo Yun Xuan, Shanghai. Source: Shan Guoqiang, Ren Bonian, p.101. 57 11 & 12. Ren Yi, Qunxian zhushou tu (Gathering of the Immortals in Wishes of Long Life), 1878. Screen (12 hanging scrolls), ink and color on gold foil, each 206.8 x 59.5 cm. Association of the Artists, Shanghai. Source: Xue Yongnian, Ren Bonian, pp.10- 11. 58 13. Ren Yi, Fengchen sanxia (Three chivalrous warriors), 1880. Hanging scroll, ink and color on paper, 122.7 x 47 cm. Shanghai Museum. Source: Li Chu-tsing, and Wan Ching-li, Zhongguo xiandai huihua shi: Wan Qing zhibu, 1840 zhi 1911, Fig. 2.83. 59 14. Ren Yi, Wan niao ren (Man playing with a bird), 1882. Hanging scroll, ink and color on paper, 34.5 x 36 cm. China Art Academy, Shanghai. Source: Wang Jingxian, Ren Bonian zuo pin ji. 60 15. Ren Yi, Mai rou tu (Selling meat), probably 1881. Hanging scroll, ink and color on paper. Palace Museum, Taipei. Source: Li Chu-tsing, and Wan Ching-li, Zhongguo xiandai huihua shi: Wan Qing zhibu, 1840 zhi 1911, Fig. 2.84. 61 16. Fang Shishu and Ye Fanglin, The Literary Gathering at a Yangzhou Garden, 1743. Handscroll, ink and color on silk. 31.7 x 203.8 cm. The Cleveland Museum of Art. Source: Vita Giacalone, The Eccentric Painters of Yangzhou, pp.18-19. 62 17. Luo Ping, Two Ghosts, date unknown. Fan mounted as album leaf, ink and light color on paper, 28 x 62.2 cm. Location unknown. Source: Vita Giacalone, The Eccentric Painters of Yangzhou, No.32. 63 18. Luo Ping, Portrait of the Artist?s Friend Yi?An, 1798. Hanging scroll, ink and color on paper, 119.4 x 43.8 cm. Ching Yuan Chai Collection. Source: Vita Giacalone, The Eccentric Painters of Yangzhou, No.31. 64 19. Huang Shen, Genre Figures at Play, leaf J: Five Musicians, 1730. Album of twelve leaves, ink and color on paper, each 34.4 x 44.1 cm. Ching Yuan Chai Collection. Source: Vita Giacalone, The Eccentric Painters of Yangzhou, No.19. 65 vii 20. Huang Shen, Sounding a Musical Tone, probably 1739. Hanging scroll, ink and light color on paper, 115.5 x 60.3 cm. National Gallery of Canada, Ottawa. Source: Vita Giacalone, The Eccentric Painters of Yangzhou, No.20. 66 1 Introduction Ren Yi ?? (zi Bonian??, 1840-1895), one of the most accomplished and influential Shanghai painters in the late nineteenth century, produced a great number of artworks during his lifetime. Figure painting comprises a major portion of his works. His figure painting includes most kinds of figure subjects, such as portraits, mythological and historical figures, legendary personages, literary episodes, etc. By examining Ren?s figure paintings in terms of the economic circumstances under which they were produced, their subject matter, style, and historical background, this thesis argues that Ren?s figure painting was made not just for art?s sake, but also for commercial purposes, specifically for the ready art market in Shanghai. Chapter 1 concerns the economic, social and cultural circumstances of late nineteenth-century Shanghai. Shanghai ??, as the city where Ren Yi resided and made his living as a painter for almost 30 years, undoubtedly had a direct influence on the commercialism in his figure painting. The rise of Shanghai in the late nineteenth century was firstly the result of colonialism. Since Shanghai was opened by force as one of the five treaty-ports after the Opium War ???? (1839-42), it rapidly and dramatically developed from a small fishing village into the largest and the most prosperous metropolis in China. Another factor which gave impetus to the rise of Shanghai in the late nineteenth century is the 1860s? Taiping rebellion ??? ?, which drew large numbers of workers, intellectuals, and members of the upper class in southern China to seek refuge and protection there. Because of Shanghai?s swift development into China?s leading commercial center, the merchants there rose 2 to prominence as an independent and powerful social class. A great number of these merchants were active art patrons. Because of its economic prosperity and political stability, Shanghai gradually became a new center for the art market in the late nineteenth century. Many artists including Ren Yi moved to Shanghai during the population surge in the 1860s. Even after that, Shanghai continued to attract artists who sought active customers for the works they produced. The Shanghai artists in the late nineteenth century were independent professionals who openly sold their artworks to support themselves. Chapter 2 provides a short biography of Ren Yi. A native of Shanyin ?? (present-day Shaoxing ??) in Zhejiang ??province, Ren Yi was born into a middle-class family in 1840 and died in Shanghai, of lung disease, in 1895. At the age of 10 Ren Yi began to learn some basic techniques of portraiture from his father, Ren Hesheng ??? (zi Songyun ??), who was a small rice merchant but who excelled at portraiture. At the age of fifteen or sixteen Ren Yi was lucky enough to meet the famous painter Ren Xiong ??, and he later became a student of another famous painter, Ren Xun ??. In the 1860s, significant changes happened in Ren Yi?s life: First in 1861 he lost his father in the Taiping rebellion and even himself got involved in it for a time. Afterward he led a wandering life in Ningbo ??, Zhenhai ?? and Suzhou ?? for almost four years (1862-1865), but in 1868, he moved to Shanghai to begin his career as a professional painter. During his long-term stay in Shanghai, Ren turned from an unknown professional painter, whose painted fans sold for just 3 three jiao each, 1 into a prestigious painter whose artworks the public, especially the Canton merchants, spared no expense in purchasing. Chapter 3 deals with the manifestation of commercialism in Ren Yi?s figure painting. On the basis of the themes and contents of the extant artworks by Ren Yi, Ren?s figure painting can be loosely divided into three major categories: (1) Portraits, (2) narratives depicting mythological, legendary and historical figures, and (3) genre scenes of ordinary people. A number of Ren Yi?s portraits were made for his friends and patrons, who generously provided him with financial and moral support. These informal portraits not only evidenced the friendship between the sitter and Ren Yi, but also and more importantly suggest the efforts Ren made to get himself well- connected with figures active in the artistic and cultural circles of Shanghai, so as to establish his reputation as a professional painter, especially during the first years after he arrived there. A great portion of Ren?s figure paintings are narratives of characters in myths and fairy tales as well as in historical records or legends. Such subjects are linked to folk tradition and thus fit well the taste of the common people, especially the newly- rising merchants, who were the major patrons which professional painters like Ren relied on to make a living. Ren Yi painted a few genre scenes, but not many. Such paintings depicting the lives of ordinary people are close to reality and thus easily identifiable and accessible to the common people, who were usually not well educated and purchased paintings mainly for decoration. Ren?s genre scenes 1 Xue Yongnian ???, ?Yangzhou huapai yu haipai de huihua yi shu ????? ??????(The Art of Yangzhou Painters and Shanghai Painters),? in Zhongguo meishu quan ji?wan qing juan?????????? (Collections of Chinese Artworks: Late Qing dynasty) (Beijing: renmin meishu chuban she, 1980), 13. 4 expanded his potential audience and customers, and thus undoubtedly were beneficial to his career as a professional painter in Shanghai. In a word, the abovementioned three categories of Ren?s figure painting suggest three strategies for Ren to successfully live by painting in Shanghai, namely (1) making connections with influential art patrons and artists to establish himself in Shanghai by painting portraits, (2) catering to the tastes and needs of the populace (esp. newly-rising merchants) to attract their attention and thus make a name for himself in Shanghai by painting narratives, and (3) making his artwork close to reality and thus easily accessible to the common people, so as to expand his potential audience and customers by painting genre scenes. Chapter 4 discusses the historical background of the commercialism in Ren Yi?s figure painting. There is an important historical factor that had great impact on the commercialism in Ren Yi?s figure painting; that is, a legacy of eighteenth-century Yangzhou ??painting. The most prosperous city in China during the eighteenth century was Yangzhou. The most influential artistic group in eighteenth-century Yangzhou was known as Yangzhou baguai ???? (the Eight Eccentrics of Yangzhou). In a sense, Yangzhou baguai can be called as the forerunner of the Shanghai school, particularly in terms of the painting style and subject matter of their artworks. The major characteristics of Yangzhou painting, i.e. personal and expressive painting style, exploration of new areas of subject matter related to the mundane aspects of daily life, and specialization in subject matter, ?can be said to be 5 the result of a business-dominated society, first [found] in Yangzhou and later in Shanghai.? 2 2 Chu-tsing Li, ?Eighteenth-Century Foundations in Modern Chinese Painting,? in Chinese Painting under the Qianlong Emperor: The Symposium Papers, edited by Ju- hsi Chou and Claudia Brown ([Tempe, Ariz.]: Arizona State University, 1988), 324. 6 Chapter 1 Economic, Social and Cultural Circumstances in Late Nineteenth- Century Shanghai Shanghai, as the city in which Ren Yi resided and made a living by painting for almost 30 years, undoubtedly was strongly reflected in the commercialism of his figure paintings, owing to Shanghai?s rapid growth from a small fishing village into the largest city in China, and its dramatic development into ?China?s leading center of economy and industry, as well as that of art, printing, publishing, journalism, popular entertainment, and higher education? 3 during the late nineteenth century. The Rise of Shanghai in the Late Nineteenth-Century First of all, the rise of Shanghai in the late nineteenth century was result of colonialism. Since Shanghai was forced to be opened as one of the five treaty-ports according to the Nanjing Treaty ???? of 1842 after the Opium War (1839-42), it rapidly and dramatically developed from a relatively small but significant county city and port into the largest and the most prosperous metropolis in China, and replaced Suzhou ??, Yangzhou ??, and Guangzhou ?? as China?s leading commercial center. With Shanghai?s formal opening as a treaty-port in November, 1843, foreigners began to establish concessions as their special residential places in Shanghai; these concessions contributed to the westernization of Shanghai. On 3 Kuiyi Shen, ?Wu Changshi and the Shanghai Art World in the Late Nineteenth and Early Twentieth Centuries?(Ph.D. diss., Ohio State University, 2000), 25. 7 September 24, 1846, the British set up the first foreign concession in the northern suburb of Old Shanghai City. 4 Only a few years later, the French and then Americans established their concessions successively along both sides of the Yangjing River ? ?? and on the north side of the Wusong River ??? in Shanghai. 5 In 1863 the British and the American concessions were amalgamated to form the International Concession. 6 The concessions were controlled totally by the foreigners who occupied them; the Chinese local government, under the doctrine of extraterritoriality, had no right to interfere in their business. As a result, the construction and administration of the concessions was completely westernized; the streets were lined with foreign banks and companies, western colonial houses and offices, etc. Meanwhile, many foreign entrepreneurs and bankers came to Shanghai and invested there. Thus a great number of foreign companies and banks were established after the opening of Shanghai to outsiders in 1842. According to the historical records, there were eleven foreign companies founded there in 1843, ?such as Yihe Yanghang (Jardine, Matheson & Co.), Renji Yanghang (Gibb Livingstone & Co.), Yiji Yanghang (Holliday, Wise & Co.), Badi Yanghang (Wolcott, Bates & Co.), and 4 Wang Hui ??and Yu Guoliang ???, eds., Shanghai: chengshi, shehui yu wenhua ???????? ??? (Shanghai: City, Society and Culture) (Hong Kong: Hong Kong zhongwen daxue chubanshe, 1998), 94. 5 The French established their concession in April 1849, and the Americans established theirs in March 1852. See Tang Zhenchang, ed. Shanghai shi ??? (History of Shanghai) (Shanghai: Shanghai renmin chubanshe, 1989), 144-146. 6 Jonathan Hay, ?Painting and Built Environment in Late-Nineteenth-Century Shanghai?, in Chinese Art: Modern Expressions edited by Maxwell K. Hearn and Judith G. Smith (New York: The Metropolitan Museum of Art, 2001), 61. 8 Baoshun Yanghang (L. Dent & Co.).? 7 By 1876 over two hundred foreign companies were being operated in Shanghai. 8 Meanwhile, after the establishment of the first British Bank, Liru ??Bank (Oriental Banking Corporation) in 1847, a great number of foreign banks were subsequently opened in Shanghai, such as Falanxi ? ?? Bank (Comptoir d?escompte de Paris) by the French in 1860 and Huifeng ?? Bank (Hong Kong & Shanghai Banking Corporation) by the British, Americans, and Germans in 1865. 9 It was recorded that the total value of foreign-owned property in Shanghai was over 25,000,000 pounds during the 1860s. 10 Hence, Shanghai quickly became the most prosperous commercial metropolis in China. The total value of imports and exports in Shanghai was 16,900,000 yuan ? in the early 1840s. However, by the 1850s it leaped to 32,000,000 yuan?nearly double what it had been ten years before. 11 7 Shen, ?Wu Changshi and the Shanghai Art World in the Late Nineteenth and Early Twentieth Centuries,? 27. 8 Le Zeng ??, ?Qing mo Shanghai tongshang yu shehui xingtai bianyi ????? ????????(The Trade and Social Changes of Shanghai in the Late Qing Dynasty),? Wenshizhe ??? vol.188, no.9 (1988):14. 9 Shen, ?Wu Changshi and the Shanghai Art World in the Late Nineteenth and Early Twentieth Centuries,? 27-28. 10 Shan Guolin ???, ?Haipai huihua de shangyehua tezheng ???????? ? (Characteristics of Commercialism in the Shanghai School of Painting),? in Shanghai huapai yanjiu wenji ???? ?? (Studies on the Shanghai School of Painting) (Shanghai: Shanghai shuhua chubanshe, 2001), 561. 11 Stella Yu Lee, ?The Figure Painting of Jen Po-Nien (1840-1896): The Emergence of a Popular Style in Late Chinese Painting? (Ph.D. diss., University of California, Berkeley, 1981), 51-52. 9 The 1860s? Taiping ?? rebellion, which drew large numbers of workers, intellectuals, and members of the upper class in southern China to Shanghai to seek refuge and protection, was another reason for the rise of Shanghai in the late nineteenth century. The foreigners in Shanghai did not permit either the rebels or the Imperial Manchu forces to occupy the concessions in which they resided. Under such foreign protection, Shanghai became a haven from the nation?s internal turmoil. Especially when the Taiping Rebellion occupied the Jiangsu ?? and Zhejiang ?? areas in 1860, a large portion of the population of southern China, including the local officials, wealthy people, and even lower middle- class people fled from their homelands to seek refuge and protection in Shanghai. 12 The total population of the above-mentioned international concession in Shanghai, also called the ?British and American concession,? was around 20,000 before 1860; in 1860 it had jumped to 300,000, and two years later it was up to 500, 000. 13 By the end of the nineteenth century, Shanghai was believed to have a population of more than three million people. 14 The population flow laid a foundation for the city?s new economic and artistic growth in the late 1860s. These new immigrants brought in large quantities of capital, treasures (including art collections), labor, and talent. It was at that time that Ren Yi came to Shanghai to live by painting. He was to become an accomplished and distinguished painter in the late nineteenth century. 12 Wang Tao , Yingruan zazhi (A Collection of Jottings on Miscellaneous Subjects Relating to Shanghai) (Preface dated 1853, reprint 1875. Reprint. Shanghai: Shanghai guji chubanshe, 1989), 89-91. 13 Ibid. , 47. 14 Ibid. , 19. 10 Art and Art Patronage in Late Nineteenth-Century Shanghai As Shanghai developed into China?s leading commercial center during the late nineteenth century, the merchants in this newly rising metropolis rose to prominence as an independent and powerful social class. These newly rising merchants came from different parts of China, such as Fujian , Guangdong ? , Jiangsu, Zhejiang, and Anhui . As a matter of fact, a majority of the new merchants were from the first two provinces, and among other things, they operated hundreds of pawnshops in Shanghai. 15 Some of these new merchants came from official circles; however, most of them were members of the middleclass who had not received a good education but built up their fortunes from the bottom of society. 16 Despite their low education level, these merchants desired to establish their reputations as people of good taste by purchasing many artworks, especially those done by the masters. As Wang Tao (1828-1897) pointed out in his Yingruan zazhi (A Collection of Jottings on Miscellaneous Subjects Relating to Shanghai), ?Most of the merchants were very vulgar, but they wanted to associate themselves with elegance and refinement, so they spared no expense in purchasing paintings and works of calligraphy in order to establish good reputations.? 17 Thus, the newly rising 15 Shen, ?Wu Changshi and the Shanghai Art World in the Late Nineteenth and Early Twentieth Centuries?, 32. 16 Wu Zhenyi ? , Qing mo Shanghai zujie shehui ???? ?? (The Society of the Concessions of Shanghai in the Late Qing Period) (Taipei: Wenshizhe chubanshe, 1978), 99. 17 Wang Tao, Yingruan zazhi, juan ? 4, 11.For Chinese text, see Appendix I (1). 11 merchants became the major patrons of Shanghai art, and thereafter, such new patronage had great influences on the subject matter and style of Shanghai painting. As Li Chu-tsing points out, The new patronage in these port cities was very different from the one before which was mainly made up of high officials and local gentry. They preferred the literati tradition, attempting to follow the taste of the scholar-officials. But in port cities the new merchants did not have the educational background of the literati, although some of them did aspire to the same taste as the officials. These merchants gradually developed a taste of their own, not so highbrow in standard but more popular in subject matter, drawn directly from real life to from legends and stories from the past, more appealing in style, with exaggerated and showing ostentatious characteristics. Colorful, decorative and dramatic, the style of Shanghai became a language in its own right. 18 Because of its economic prosperity and political stability, Shanghai gradually became a new center of the art market in the late nineteenth century. As a matter of fact, many other artists besides Ren Yi moved to Shanghai during the population surge in the 1860s. Even afterward, it continued to attract artists, who came to Shanghai in search of active customers. As Zhang Mingke (1818/1819- 1908/1909) pointed out in his book Hansongge tanyi suolu ? (Records of the Comments on Art in Hansongge), 18 Li Chu-tsing, ?Looking at Late Qing Painting,? in Art at the Close of China?s Empire, ed. Ju-hsi Chou (Phoenix : Phoebus, 1998), 21. 12 After the ban on maritime trade was removed, Shanghai became the most prosperous place for trade. Those artists who lived by painting thus all came [to Shanghai] and then lived there to sell their paintings. 19 In fact, during the late nineteenth century, artists who had moved to Shanghai from other places outnumbered artists who were native to Shanghai. Among the more than 600 artists who were active in Shanghai from the late nineteenth century till the early twentieth century and whose names were recorded in the Haishang molin ?? (A Collection of Biographical Notes on Shanghai Artists) by Yang Yi (1864- 1929), at least 338 came from other provinces. 20 Furthermore, the majority of famous artists in Shanghai were not Shanghainese, but came from other provinces such as Jiangxi ??, Huating , Shaoxing ??, Suzhou, Yangzhou, Ningbo ??, and Nanjing. 21 The Shanghai artists in the late nineteenth century were independent professionals who consciously and openly sold their artworks to support themselves. They were willing to make paintings catering to the taste of their potential customers even at the expense of the quality of their art. They no longer worked as the 19 Zhang Mingke , Hansongge tanyi suolu ? (Records of the Comments on Art in Hansongge) (Preface 1919. Reprint. Shanghai: Shanghai renmin meishu chubanshe, 1988), juan 6, 150. For Chinese text, see Appendix I (2). 20 Yang Yi , Haishang molin ?? (A Collection of Biographical Notes on Shanghai Artists) (Preface dated 1919.Reprint. Shanghai: Shanghai guji chubanshe, 1989), juan 3, 55-90. 21 Ge Yuanxu ???, Huyou zaji?? ? (Notes on Traveling in Shanghai ) (Preface dated 1876. Reprint. Shanghai: Shanghai guji chubanshe, 1989), vol.2, juan 4, 6a-8a. 13 traditional literati who took painting as personal entertainment. In the book Huyou zaji ?? ? (The Notes on Traveling in Shanghai), Ge Yuanxu ???noted that famous Shanghai painters such as Zhang Xiong ? (1803-1886), Hu Yuan ?currency1 (1823-1886), Ren Yi, Yang Borun ?' (1837-1911), and Zhu Cheng ?? (1826- 1899/1900) all openly priced their artworks in their homes. These professional artists refused to make concessions on the prices of their paintings. According to Qingcao yeshi daguan ????fifl (Records of the Unofficial Histories of the Qing dynasty), Once a high official of Songjiang sent a servant with money to Hu Gongshou?s [Yuan] house in order to ask Hu to do a painting for him. Hu thought that the money was not enough and thus said to the servant, ?Give my thanks to your master. I don?t know what he is, but he should pay me enough money according to my price lists, so that I can paint for him.? 22 In the late nineteenth century, especially during the period when Ren Yi lived in Shanghai (1868-1895), there were two major means for the artists to sell their paintings in Shanghai: One was through fan shops, the other was through painting societies. A large number of paintings were sold through fan shops during the late nineteenth-century in Shanghai. According to the statistics by Shanghai huashang minglu ?? ? (Records of Chinese Merchants in Shanghai), there were 109 22 Ibid. , juan 2, 43. For Chinese text, see Appendix I (3). 14 fan shops until the first year of Xuantong ?? (1909). 23 These fan shops ?offered clients [an] easy place to buy a painting?free of the stresses of personal obligation involved in many pre-modern transactions. At the same time, they helped establish the artist?s fame and price structure and thus contributed to developing [a] celebrity that might lead to direct business between patrons and artists themselves.? 24 For example, Jiuhuatang ? ?, originally founded on Guanqianjie fl ?of Suzhou and later moved to Shanghai during the Guangxu ?? reign (1875-1908), was the fan shop with the longest history in Shanghai. The owner of Jiuhuatang, Zhu Jintang ???, was a lover of painting and calligraphy. He made good friends with the famous Shanghai painters such as Ren Yi and Xugu ?? (1823/4-1896). Ren Yi once painted a group portrait of Zhu Jintang, Zeng Fengji ?? , and himself in 1884 (figure 7), which will be explained in detail in Chapter 3. Unlike the informal gatherings of painters held in the eighteenth century ?for the purpose of exchanging painting skills and making friendly contacts,? 25 painting societies held in late nineteenth-century Shanghai were something like guild organizations which were mainly used for the artists to ?coordinate their sales and commercial activities for mutual benefit.? 26 From 1839 to 1911, there were at least 23 Shan Guolin, ?Haipai huihua de shangyehua tezheng (Characteristics of Commercialism in the Shanghai School of Painting),? 565. 24 Shen, ?Wu Changshi and the Shanghai Art World in the Late Nineteenth and Early Twentieth Centuries?, 100. 25 Ibid. , 116. 26 Ibid. 15 eleven formally organized painting societies founded in Shanghai. 27 For example, Feidange shuhuahui ? `???(Feidan Pavillion Painting and Calligraphy Society) (1861-1908), located at the original site of the Deyuelou ??? fan shop in the Yu Garden ??, included almost all of the famous painters of that time, such as Gaiqi ? (1744-1829), Hu Yuan, Yang Borun, Ren Yi, Ren Xiong ?? (1823- 1857), Ren Xun ?? (1835-1893), and Zhang Xiong. It is believed that Ren Yi had frequently stayed in Feidange even before he settled down in Shanghai in 1868, as indicated in the inscriptions on many of his paintings there. 28 27 Zhongguo meishu nianjian ??????1947 (The Yearbook of Chinese Art, 1947) (Shanghai, 1948), shiliao ??(Historical Documents), 2-3. 28 Shen, ?Wu Changshi and the Shanghai Art World in the Late Nineteenth and Early Twentieth Centuries?, 117. 16 Chapter 2 A Short Biography of Ren Yi A native of Shanyin ?? (present-day Shaoxing ??) in Zhejiang province, Ren Yi was born into a middle-class family in 1840 29 and died of lung diseasein Shanghai in 1895. He was called Run 'at first, but later he changed his first name into Yi. His zi was Bonian ???and his hao ? was Xiaolou ?? 30 , and later Ciyuan ?currency1. He also had a nickname called Monk Ren ?? . At the age of 10 Ren Yi began to learn some basic techniques of portraiture 31 from his father, Ren Hesheng ??? (zi Songyun ??), who was a small rice merchant but who excelled at portraiture. 32 When there were visitors stopping by 29 Since there is no documentation on Ren Yi?s early life, his birth date and native place are not precisely pinpointed. For detailed discussion about these issues, see Ding Xiyuan ??Ren Bonian: nianpu, lunwen, zhen cun, and zuopin ?? ??? ? ?? ? (Ren Bonian: Chronology, Theses, Artifacts and Works) (Shanghai: Shanghai shuhua chubanshe, 1989), 2-4. 30 When Ren yi sold his paintings in Ningbo, Zhenhai ??, and Suzhou during his early life, he once made pictures of beautiful women in the style of Fei Danxu?s (1801-1850, hao Xiaolou ??), and thus used the same style name Xiaolou as Fei. According to Qian Jingtang , when Ren Yi moved into Shanghai during the first years, he still used this style name. But soon he stopped using it because of the opposition from Fei?s son, Fei Yubo ?. See Ibid. , 4. 31 There was a tradition of learning portraiture in Shanyin and Xiushui ?, Zhejiang Province, which came from Zeng Jing ? (1564-1647) who was active during the late Ming ?and early Qing ?. Ibid. , 6. 32 ?[Since] [Ren Hesheng] was getting old and there was no harvest that year, he taught Ren Yi portraiture.? See the inscription by Ren Jinshu ? (1881-1936) (Ren Yi?s only son) on the handscroll Portrait of Ren Songyun (1869, Palace Museum, 17 while his father was not home, young Ren Yi was required to paint their portraits for his father rather than tell him their names. Thus, by being forced to memorize people?s features by heart, Ren Yi gradually acquired great powers of observation, which laid a solid foundation for his unique art in his later life. 33 There is an interesting story concerning Ren Yi?s keen observation of nature, although according to Ding Xiyuan ?, it may be not substantiated: 34 At the age of twelve or thirteen, Ren was still learning painting skills in his home, Xiaoshan. One day, he saw two oxen fighting with each other in the countryside, and he immediately recorded this scene with his fingers on his robe. After he returned home, he made a painting called Oxen Fighting, with an inscription which reads ?Painting is from all things in the world, and thus the fingernail can be used as a painting brush. If you want to know how this painting is made, you can see traces of the nail drawing on my robe.? 35 Ren Yi was lucky enough to meet the famous painter Ren Xiong ?? and, he later became a student of another famous painter, Ren Xun ??, when he was fifteen Beijing; figure 1). ?Moving from Shanyin to Xiaoshan ?, his [Ren Yi?s] father excelled at portraiture and worked as a rice merchant.? See Xu Beihong ??, ?Ren Bonian pingzhuan ????? (A Critical Biography of Ren Bonian),? in Ren Bonian yanjiu ??? (Studies of Ren Bonian), edited by Gong Chanxing ? (Tianjin: Tianjin renmin meishu chuban she, 1982), 1. 33 Ding Xiyuan, Ren Bonian: nianpu, lunwen, zhen cun, and zuopin (Ren Bonian: Chronology, Theses, Artifacts and Works), 6. 34 Ibid. , 7. 35 ?Huajia Ren Bonian gushi,? ? ??? (Stories of the Painter Ren Bonian) xinmin wanbao ? ? , 24 March 1962. For Chinese text, see Appendix I (4). 18 or sixteen years old, which undoubtedly had a great influence on his later painting career. Based on the words from Wang Yiting , Xu Beihong ?? (1895- 1953) recorded an amusing story about the accidental meeting between Ren Xiong and Ren Yi during his early years of apprenticeship in Shanghai, in ?Ren Bonian pingzhuan? ????? (A Critical Biography of Ren Bonian): When his father died (Bonian was then about fifteen or sixteen years old), he moved to Shanghai. At that time, Ren Weichang ?? [Xiong] was very well known in the south [of China]. For the purpose of making a living [in Shanghai], Bonian painted many fan pictures by himself and forged Weichang?s long inscriptions on them. He put these works on the street for sale, and he himself stood by them. By chance, Weichang passed by and saw them. He scrutinized these paintings signed with his own name, and he was surprised by the painting skills. All of a sudden, he asked [Bonian], ?Who painted these fan pictures?? Bonian replied, ?Ren Weichang.? [Weichang] asked, ?What relationship is there between you and Ren Weichang?? [Bonian] replied, ?He is my uncle.? [Weichang] asked further, ?Do you know him?? Bonian felt that something was wrong and thus replied in embarrassment, ?If you want to buy these paintings, please do so. If you don?t want to buy them, it?s OK for me. Why do you want to get to the bottom of this?? Weichang said in a relaxed manner, ?I just want to know who really made these paintings.? Bonian said, ?How can you get a genuine painting by Ren Weichang at the price of 2 jiao 19 ??Weichang asked again, ?Do you really know Ren Weichang?? Bonian was stunned. Weichang thus said, ?I am Ren Weichang.? Bonian was so ashamed that he wanted to run away and hide. Then he did not say a word for a while. Weichang said, ?Never mind. But I need to know who made these paintings.? Bonian replied in embarrassment, ?I did these paintings to make a living.? So Weichang asked his name, and he replied, ?My family name is Ren. My father used to talk about Weichang?s paintings and told me that he also belonged to my uncle?s generation. Knowing your honor?s fame, after I came to Shanghai, I forged your name on these fan paintings to make a living here.? Weichang asked, ?Where is your father?? [Bonian] replied, ?He is dead.? [Weichang] asked, ?Do you really like painting?? Bonian nodded. Weichang said, ?Would you like to study painting with us?? Bonian was very excited at this invitation. But he said that he was poor and thus did not know what he could do. So Weichang asked him to go to Suzhou to live and study with his [Weichang?s] younger brother Fuchang ? [Ren Xun]. 36 Fang Ruo?? also recorded this same story in his book Haishang huayu ???? (Records of Shanghai Painting). 37 The story is significant because it more or less 36 Xu Beihong, ?Ren Bonian pingzhuan (A Critical Biography of Ren Bonian),? 1. The translation of this story is adapted from Lee, ?The Figure Painting of Jen Po-Nien (1840-1896): The Emergence of a Popular Style in Late Chinese Painting?, 81-82. For Chinese text, see Appendix I (5). 37 Cited in Ding Xiyuan, Ren Bonian: nianpu, lunwen, zhen cun, and zuopin (Ren Bonian: Chronology, Theses, Artifacts and Works), 9. 20 manifests the close stylistic ties between Ren Yi and the other two Rens, Ren Xiong and Ren Xun, who had made their marks in the Shanghai painting circle before Ren Yi. However, there are doubts held by scholars about whether Ren Yi did encounter Ren Xiong, because of the chronological discrepancies existing in Ren Yi?s standard biography. For instance, if Ren Yi had met Ren Xiong in Shanghai, he would have been not 15 or 16 years old but 30, since he did not move to Shanghai until 1868, but by that time Ren Xiong had already died. If he had met Ren Xiong at the age of 15 or 16, Ren Yi would have met Ren Xiong in his home town Xiaoshan, rather than Shanghai. 38 The 1860s was a transitional era in Ren Yi?s life: First, in 1861 he lost his father in the Taiping rebellion and even himself got involved in it for a time. Afterwoard he led a wandering life in Ningbo, Zhenhai and Suzhou for almost four years (1862-1865), but eventually in 1868 he moved to Shanghai to begin his career as a professional painter. According to the recollection of Ren Yi?s son, Ren Jinshu ? , Ren Yi?s father was killed during the turmoil in 1861, and in the same year, Ren Yi was drawn into the Taiping military campaigns and made into a flag bearer, which caused him great suffering. 39 In early 1862, after Ren Yi had found his father?s body and buried it, he returned to his home town Xiaoshan, where he lived for another two or three years. In 1865 Ren Yi went to Ningbo to make a living by 38 The detailed discussion about this problem can be found in Shan Guoqiang ?? , Ren Bonian ??? (Taipei: Taiwan Mac Educational Co. Ltd., 1995), 8-9. 39 See the inscription by Ren Jinshu on the handscroll Portrait of Ren Songyun (figure 1). 21 selling his paintings. Strongly influenced by Ren Xiong and Ren Xun, he made a large number of figure paintings in the style of Chen Hongshou (1598-1652) during that time. Meanwhile, he also made pictures of beautiful women in the style of Fei Danxu. Early in 1868, after four-year stay in Ningbo, Ren Yi went with his uncle Ren Xun to Suzhou to practice painting. There he met Hu Yuan (zi Gongshou ??), with whom he ws to form a long-term partnership of artistic collaboration. Their relationship will be explained in detail in the following chapter. Ren Yi did not stay in Suzhou for long. In the winter of 1868, he moved to Shanghai and then began his almost thirty-year residence there as a professional painter. Before Ren Yi left Ningbo for Suzhou with Ren Xun to practice painting in early 1868, he said farewell to his best friends, Wan Geting ?? , Chen Duofeng ??, and Xie Lianshi ???, and then painted the handscroll Dongjin huabie tu ???? (Saying Farewell at the Ling Bridge in Ningbo, China Art Gallery, Beijing; figure 2) as a record of their friendship. Ren Yi wrote an inscription on this painting, which reads, I have sojourned and traveled in Yongshang ?? [Ningbo] for over four years. When I met the two gentlemen, Wang Geting and [Chen] Duofeng for the first time, it was as if we had known each other for a long time. At night we light lamps, in the rain we wear bamboo hats, singing songs with the qin ? instrument and composing poetry with wine, searching out both famous places and hidden spots; we shared these pleasures without wasting time. With the help of rivers and mountains, and the happiness engendered from friendship, 22 this journey was worth a lot. But now I have to go with uncle Fuchang [Ren Xun] to Jinchang ?? [Suzhou] to practice painting, and Lianshi also plans to go north. We are all about to separate. Duofeng is affected by the sadness of parting and encounters the thoughts of the poem Denglou ??(climbing the pavilion) by Wang Can ?; therefore I painted this picture to record that I feel like a traveling star [without a fixed lodge]. On the 2nd month of the 7th year of the Tongzhi ?? (1862-1874) era, 10 days after the Birthday of Flowers ??[namely, March 18 in terms of the solar calendar], Ren Yi Ciyuan of Shanyin, while packing, paints and inscribes this at Ganxi ?? lodgings. 40 It is generally recognized that this painting is the earliest one to include Ren Yi?s self- portrait. The leading figure must be Ren Xun, gesturing to Ren Yi, who still lingered among his friends, to follow. Although Ren Yi just used several brushstrokes to create each figure in this painting, each of these five figures has unique physical features and a unique state of mind. As Pu Hua ? (1830? -1911) comments in his inscription to this painting, ?The appearances [of these figures] are so lifelike that [these figures] would come out of this painting if they were called.? 41 40 The translation of this inscription is adapted from Roberta May-Hwa Wue, ?Making the Artist: Ren Bonian (1840-1895) and Portraits of the Shanghai Art World? (Ph.D. diss., New York University, 2001), 91. For Chinese text, see Appendix I (6). 41 Shan Guoqiang, Ren Bonian, 13. For Chinese text, see Appendix I (7). 23 It needs to be pointed out here that the most important reason why Ren moved to Shanghai was that he wanted to make a fortune there. Actually, before he came to Shanghai, he had once sold his paintings in Ningbo and then in Suzhou for four years as mentioned above, but he did not make as much money in these two cities, as he had hoped. Only when he moved to Shanghai in the winter of 1868 did Ren?s career as a professional painter take a turn for the better; during the almost 30-year stay in Shanghai, Ren turned from an unknown professional painter, whose fan paintings sold at the cheapest price of just three jiao 42 , into a prestigious painter whose artworks the people, especially the Canton merchants, spared no expense purchasing. According to Fang Ruo?s Haishang huayu (Anecdotes to Shanghai Painting), there was an interesting anecdote about how the Canton merchants desired to get artworks from Ren Yi: The Canton merchants who desired to ask for [Ren Bonian?s] paintings had waited at his house for a long time. They could not meet [Bonian] until he came back. Then these Canton merchants followed him into his house. Bonian went upstairs immediately, and then looked back, saying, ?It?s my private bedroom, please stop; it?s my private bedroom, please stop!? Later this story spread out as a joke. 43 As a matter of fact, Ren did make a fortune in Shanghai. When he was seriously ill in 1894, Ren entrusted his cousin?s husband with a stake of nearly 30,000 dollars which he had saved over the years to purchase some land in Shaoxing, his home town. 42 Xue Yongnian, ?Yangzhou huapai yu haipai de huihua yi shu ((The Art of Yangzhou Painters and Shanghai Painters),? 13. 43 Cited in Ibid. For Chinese text, see Appendix I (8). 24 However, his cousin?s husband was addicted to gambling and thus squandered almost all of Ren?s money. He later gave Ren a fake land deed, which was a great shock to Ren after Ren himself found out the truth. 44 44 Ding Xiyuan, Ren Bonian: nianpu, lunwen, zhen cun, and zuopin (Ren Bonian: Chronology, Theses, Artifacts and Works), 109. 25 Chapter 3 Commercialism in Ren Yi?s Figure Painting A large number of Ren Yi?s artworks are figure painting. His figure painting includes almost all kinds of figure subjects, such as portraits, mythological and historical figures, legendary personages, and literary episodes. Based on the themes and contents of the extant artworks by Ren Yi, his figure painting can be loosely divided into three major categories: (1) Portraits, (2) narratives depicting mythological, legendary as well as historical figures, and (3) genre scenes of people in ordinary life. These abovementioned three categories of Ren?s figure painting suggest three strategies for Ren to successfully live by painting in Shanghai, namely (1) making connections with influential art patrons and artists to establish himself in Shanghai by painting portraits, (2) catering to the tastes and needs of the populace (esp. newly rising merchants) to attract their attention and thus make a name in Shanghai by painting narratives, and (3) making his artwork close to reality and thus easily accessible to the common people so as to expand his potential audience and customers by painting genre scenes. Portraits A good number of Ren Yi?s portraits, as Roberta Wue points out, are for ?individuals important enough or well-enough placed to be in a position to request a 26 portrait from Ren.? 45 In other words, a good number of Ren Yi?s portraits are made for his friends and patrons, who generously provided financial and moral support to Ren in Shanghai. Based on Richard Vinograd?s study of later Chinese portraits, traditional Chinese portraiture can be divided into three categories, namely informal portraits, formal portraits, and ancestral or commemorative portraits. 46 Accordingly, Ren Yi had a specialty in informal portraiture, namely ?private portraits of living sitters, the sitter usually belonging to the educated or elite classes, with the intended audience for their portraits being friends and collegues.? 47 These informal portraits not only evidenced the friendship between the sitter and Ren Yi, but also and more importantly suggest the efforts Ren made to get himself well-connected with the figures active in the artistic and cultural circles of Shanghai, so as to establish his reputation as a professional painter, especially during the first years after he came to this new metropolis. As far as Ren?s career in Shanghai was concerned, Zhang Xiong?s support was critical to Ren?s rise to fame in Shanghai. A native of Jiaxing ??, Zhang Xiong was known for his rich art collection, elegant literati tastes and skills in painting, calligraphy, music, and kunqu ??. Because of Taiping rebellion, he moved to 45 Wue, ?Making the Artist: Ren Bonian (1840-1895) and Portraits of the Shanghai Art World,? 205. 46 Richard Vinograd, Boundaries of the Self: Chinese Portraits, 1600-1900 (Cambridge: Cambridge University Press, 1992), 1-18. 47 Wue, ?Making the Artist: Ren Bonian (1840-1895) and Portraits of the Shanghai Art World,? 206. 27 Shanghai. 48 However, his prestige as a famous painter, which was already established in Jiaxing, continued. According to Xu Beihong?s ?Ren Bonian pingzhuan? (A Critical Biography of Ren Bonian), Zhang Xiong was greatly impressed by Ren Yi?s painting talent; with the help of Zhang Xiong?s active promotion, Ren?s fame as a gifted painter spread, and as a result, Ren became widely known in Shanghai. 49 ?Elsewhere, Ren is even declared to have been Zhang?s student.? 50 In addition, Chao Xun ??, a student of Zhang?s and the author of a new edition of the Mustard Seed Garden Painting Manual ???? , included Ren Yi and a number of his sketches in the expanded lithographic edition. 51 Undoubtedly, the publication of the new edition of the Mustard Seed Garden Painting Manual was influential and had much to do with Ren Yi?s rise to fame in Shanghai. In 1872 Ren Yi painted a portrait of Zhang Xiong entitled Jiaolin huansu tu ? ??? (Escaping the Heat in the Shade of Banana Palms, location unknown, figure 3) when Zhang Xiong was seventy years old. Zhang is shown sitting on a bamboo chair set beneath banana palms and holding an elaborately delineated transparent gauze fan, with chest bared and one leg crossed over the other in a relaxed pose. This portrait of Zhang Xiong has direct reference to Luo Ping?s ??(1733- 48 Wang Tao, Yingruan zazhi, 3922. 49 Xu Beihong, ?Ren Bonian pingzhuan (A Critical Biography of Ren Bonian),? 1. 50 Wue, ?Making the Artist: Ren Bonian (1840-1895) and Portraits of the Shanghai Art World?, 111. 51 Chou Ju-hsi, ?The Rise of Shanghai,? in Transcending Turmoil: Painting at the Close of China?s Empire 1796-1911, edited by Claudia Brown and Chou Ju-hsi (Phoenix Art Museum, 1992), 179. 28 1799) portrait of his master, Jin Nong ?? (1687-1763), Portrait of Jin Nong?s Noon Nap beneath Banana Palms (1760, Shanghai Museum, figure 4), in which Jin Nong is shown similarly dressed and seated beneath banana palms enjoying the cool shade, his head bent down toward the round fan held in his hand. Vinograd suggests that Ren Yi may have used this model to place the sitter and painter in the circumstance of the teacher and student, just like the teacher-student relationship between Jin Nong and Luo Ping. 52 Hu Yuan was another influential figure in Ren Yi?s career as a professional painter in Shanghai. A native of Huating , Hu chose to paint after he failed in the examinations several times. He was highly praised by his contemporaries for his mastery of landscape painting and literati-style flower painting, calligraphy, and poetry. Hu was introduced to Ren Yi in Suzhou by Ren Xun about 1868, and then he began a long-term close relationship of artistic collaboration with Ren, although he was seventeen years older and had gained his fame long before Ren. According to Fang Ruo?s Haishang huayu (Anecdotes of Shanghai Painting), [During Ren?s early career in Shanghai], Hu was connected to the qianye gonghui ???(banking industry association), which enabled him to secure patronage for Ren and thus help make Ren?s reputation as a painter. Meanwhile, he also introduced Ren to the fan shop Guxiangshi ???so that Ren could support himself by making 52 Vinograd, Boundaries of the Self, 134. 29 fan paintings there. [With Hu?s generous help], Ren established a solid name as a painter in Shanghai within a few years. 53 In addition to financial support, Hu was also said to have been ?instrumental in presenting to him [Ren Yi] modes of landscape painting.? 54 Hu even collaborated on several portraits Ren painted in the early years of his stay in Shanghai, adding scenic backgrounds to images, as can be seen in Portrait of Gao Yongzhi at Age Twenty- eight (1877, Shanghai Museum, figure 5), in which Hu Yuan painted the setting of pine tree, rocks, and slope. In the winter of 1868, Ren Yi made a portrait of Hu entitled Hengyun shanmin xingqi tu ??? ??? (The Hengyun Mountain Man as a Traveling Beggar, Central Academy of Fine Arts, Beijing; figure 6). This portrait shows Hu barefoot and wearing a floppy straw hat, leaning on a thin bamboo staff and carrying a basket laden with plum blossom branches, with a vacant gaze toward the viewer?s left. According to Hu?s self-inscription on the top right corner of the portrait, which reads, ?in the winter of the seventh year of Tongzhi, Hu Gongshou [Yuan] himself made the inscription,? 55 it can be inferred that such a costume portrait may be commissioned at Hu?s own request. Hu always took pride in being aloof from politics and material pursuits, therefore, by means of being portrayed as a traveling beggar asking for plum blossoms, Hu might have wanted to assert that he would keep elegant and pure even 53 Cited in Wang Jingxian ??, ?Ren Bonian qiren qiyi ??????? (The life and art of Ren Bonian), ? in Ren Bonian zuo pin ji ??? ? (Collection of Ren Bonian?s Artworks), ed. Wang Jingxian (Beijing: Renmin meishu chuban she, 1992), 13. For Chinese text, see Appendix I (9). 54 Chou, ?The Rise of Shanghai?, 179-180. 55 For Chinese text, see Appendix I (10). 30 though he lived a poor life. According to Vinograd, on the basis of the inscription by Jiang Jie ?? , added in 1871, this portrait indicates ?some genuine distress on Hu?s part: ?I recognize his being repressed and hindered, confused and untranquil.?? 56 The portrait is also a reflection of Ren?s predicament at that time, when Ren was so little known that his artworks could not sell well in Shanghai. The most famous portrait directly concerning Ren?s patrons is Sanyou tu ?? ? (Three Friends, Palace Museum, Beijing; figure 7), painted in 1884. It was made during the prime of Ren?s artistic life. Ren Yi?s inscription (figure 8) at the lower left records his satisfaction in being invited to render himself seated among his subjects as an equal: ?[Zhu] Jintang ???and [Zeng] Fengyi [Fengji] ?? , the two sirs [who] commissioned me to make portraits for them, and moreover allowed me to sit among them, calling it Three Friends- fortunate indeed, fortunate indeed.? 57 Zhong Dexiang ???, the jinshi ??degree-holder and Hanlin ? academician, made an inscription at top center, which carefully distinguishes the three sitters: ?Zeng Fengji seated in the middle, [Zhu] Jintang seated toward the left, and [Ren] Bonian seated toward the right, all wearing the Buddhist monks? costume.? 58 The identity of Zeng Fengji is not known, but according to Ding Xiyuan, 59 Zhu Jintang was the owner of the fan shop Jiu Huatang ? ?, as well as collector and lover of painting 56 Vinograd, Boundaries of the Self, 147. For Chinese text, see Appendix I (11). 57 Ibid. , 144. For Chinese text, see Appendix I (12). 58 Cited in Ding Xiyuan, Ren Bonian: nianpu, lunwen, zhen cun, and zuopin (Ren Bonian: Chronology, Theses, Artifacts and Works), 62. For Chinese text, see Appendix I (13). 59 Ibid. , 61. 31 and calligraphy. He was also a friend and patron of painters such as Ren Yi, Hu Gongshou, and Xugu. In this portrait, Zhu was rendered in the fullest and most prominent manner, leaning against a table with heaps of books, painting albums, handscrolls, and a large container of rolled-up scrolls, probably part of Zhu?s own rich collection of painting and calligraphy. Ren rendered himself in a lower position, perhaps to show his respect and appreciation for Zhu. However, the blurring of the boundaries between artist and patron can still be seen in this group portrait. As Vinograd points out, But the denotations of position and identity are nonetheless rather ambiguous in term[s] of describing internal orientations or relations to the viewer; the uniformity of costume also blurs social distinctions. ? Ren Bonian?s imagistic and textual presence in the Three Friends group portrait, however compromised, is still emblematic of the cultural repositioning of the age. 60 Narratives Depicting Mythological, Legendary and Historical figures A major portion of Ren Yi?s figure paintings are narratives of characters in myths and fairy tales as well as in historical records or legends, such as Zhong Kui ? ?, Baxian ?? (Eight Immortals), Su Wu ??, and Fengchen sanxia ???? (Three Chivalrous Warriors), etc. According to Ding Xiyuan, 43% of Ren?s figure 60 Vinograd, Boundaries of the Self, 144. 32 paintings compiled in his book on Ren?s artworks belong to this category. 61 Linked to the folk tradition, such subjects are easily accessible to the common people, especially to the newly-rising merchants, who are the major patrons which painters such as Ren should rely on for making a living, and thus fit their taste well. As Meyden points out, ?Bonian?s middle-class customers were not trained to perceive the finest nuances of ink or the mysteriously hidden symbolism as displayed in the better works of the literati painters. The bourgeois collectors of Shanghai demanded more sensuality and spontaneity from their prot?g?s.? 62 In a sense, these narratives of mythological, legendary, and historical figures are made more for commercial purposes than for self-entertainment or for art?s sake. Ren painted a great number of pictures of Zhong Kui, the ghost queller. Ren?s colophons of this subject matter all bear a date of the fifth day of the fifth month, which is the Dragon Boat Festival ???, or some time close to it. Ren once painted six pictures of Zhong Kui on the fifth day of the fifth month of 1880. 63 The custom of hanging a picture of Zhong Kui, which was used to exorcise evil spirits and ghosts on the fifth day of the fifth moon, was a common practice in nineteenth-century China, because the fifth month (duyue ??, or the evil month) was ?recognized as the arrival of summer when come ?all sorts of venomous creatures, in which evil spirits 61 Ding Xiyuan, ?Ren Bonian renwu hua zongshu ???????? (Ren Bonian?s Figure Painting),? Hanmo, vol. 28 Ren Bonian renwu hua teji ???????? (1992 Spring), 49. 62 Hans van der Meyden, ?The Life and Works of Ren Bonian: an Attempt to Strip the Artist?s Biography of Some Apocryphal Fabrications,? Oriental Art (1992 Spring), no 38: 32. 63 Wang Jingxian, Ren Bonian zuo pin ji (Collection of Ren Bonian?s Artworks), 42. 33 are believed to be incarnated, revived, [to] overrun the Earth and do mischief to men.?? 64 It is also said that the popularity of pictures of Zhong Kui in the nineteenth- century Shanghai was due to the large number of foreigners residing in Shanghai, who were considered as ?foreign ghosts? by the native Chinese people. 65 Stylistic changes in Ren?s rendering of Zhong Kui evidently manifest how Ren adjusted his brushwork to be suitable for commercial mass production of this popular subject matter. In Ren Yi?s early pictures of Zhong Kui, he devoted much attention to it. Zhong Kui is depicted with ?precise angular lines made by a careful and fastidious handling of the brush.? 66 Such features are well exemplified in the Zhong Kui zhanhutu ????? (Image of Zhong Kui Killing a Fox Spirit, 1878, Museum of Art, Tianjin; figure 9). As the ghost queller, Zhong Kui is always pictured together with the ghosts. However, Ren Yi puts Zhong Kui together with the fox spirit in this painting. Such a unique composition probably has a close relationship with the tales of the fox spirit from the Biji xiaoshuo ???? (literary sketches) that were very popular during the late Qing dynasty, e.g. Liaozhai zhiyi ?? ? 64 James Han-hsi Soong, ?A Visual Experience in Nineteenth-Century China: Jen Po- nien (1840-1895) and the Shanghai School of Painting, ? (Ph.D. diss., Stanford University, 1977), 86. 65 Li Chu-tsing, and Wan Ching-li ???? ???, Zhongguo xiandai huihua shi: Wan Qing zhibu, 1840 zhi 1911????????????? 1840?1911 (History of Modern Chinese Painting: Paintings in the Late Qing Period, 1840-1911) (Taipei: Rock Publishing International, 1997), 108. 66 Soong, ?A Visual Experience in Nineteenth-Century China: Jen Po-nien (1840- 1895) and the Shanghai School of Painting, ? 87. 34 (Strange stories from a Chinese studio) by Pu Songling ??? (1640-1715). 67 In this painting, Ren vividly re-creates the moment when Zhong Kui is angrily pulling a sword out of a scabbard to kill the fox spirit in the disguise of an innocent woman. Here Ren renders the hero, Zhong Kui, in red ink, with delicate, powerful and angular brushstrokes, in contrast to the evil fox spirit rendered in black ink with sketchy, soft and round ones. Seen from Ren Yi?s late artworks depicting Zhong Kui, the painting style is characteristic of borrowings from known iconographic formulas (for instance, the recognizable sword, official hat and beard), simplification of details, and unrestrained and loose brushwork. Evidently, such improved techniques contributed a lot to quick sketches and mass production, which Ren took advantage of so that he could finish as many pictures of Zhong Kui as fast as possible when they were in great demand. The Image of Zhong Kui painted in 1887 (Duo Yun Xuan, Shanghai; figure 10) is the best example, showing Zhong Kui with eyes wide open and hair upright, standing with one leg stepping forward before an excited devil who is hodling a torn umbrella, and meanwhile seizing another scary devil in his right hand. Compared to the early artwork Zhong Kui zhanhutu, in this painting Zhong Kui?s facial features are still meticulously reproduced, but his robe is rendered with relatively sketchy, loose, yet vigorous brushstrokes. Probably the most ambitious and exquisite painting of mythological figures made by Ren Yi is a screen entitled Qunxian zhushou tu ????? (dated 1878, Gathering of the Immortals in Wishes of Long Life, Association of the Artists, 67 Xue Yongnian ???, Ren Bonian ??? (Beijing: Wenwu chubanshe, 1998), 14. 35 Shanghai; figures 11 & 12). 68 This screen is made up of twelve hanging scrolls, all done on gold foil paper. Originally, it may have been made up of sixteen hanging scrolls. 69 It portrayts forty-six figures assembled to celebrate the birthday of Xi wangmu ? ? (Queen Mother of the West) in wishes of her longevity. The forty- six figures can be loosely divided into three groups: Sixteen immortals coming to attend the birthday feast by traveling along the sea (two have already landed), Xi wangmu and her attendants (eleven in all) descending from the sky, and nineteen people singing, dancing, or busy preparing the feast on land. The theme of this screen is excerpted from a larger story in Chinese mythology referred to as Pantao hui ?? ? (Feast of the Peaches). 70 68 Originally, this screen was collected by Qian Jingtang . Accroding to Ding Xiyuan, Qian Jingtang, the connoisseur and collector, found this screen at an antique shop in Shanghai and immediately recognized it as Ren Bonian?s artwork when the owner of the antique shop attempted to melt the gold on this screen for money. There is no signature by Ren Yi on this screen. Zhang Shiyuan ??, a friend of Qian?s and also a connoisseur, made an inscription which reads, ?one of the authentic sets of qunxian zhushou tu by Ren Bonian (12 hanging scrolls in total); [Ren Bonian] painted it at around the age of 38 [ca. 1878]; Shiyuan jushi ?? made this inscription.? See Ding Xiyuan, Ren Bonian: nianpu, lunwen, zhen cun, and zuopin (Ren Bonian: Chronology, Theses, Artifacts and Works), 42. 69 Judging from the arrangement of the scenes, the correspondence among the figures, as well as the whole composition, the existing qunxian zhushou tu made up of 12 hanging scrolls may not be a complete version. Originally, this screen may be made up of 16 hanging scrolls. See Ibid. 70 It is said that this feast was held at Xi wangmu?s palace situated in Kunlun ? mountains. According to the mythology, ?the feast itself ?took place on the borders of the Yao Ch?ih [Jasper Lake], and is attended by both male and female immortals. Besides several superfine meats, they were served with bears? paws, monkeys? lips, dragons? liver, phoenix marrow, and peaches gathered in the orchard, endowed with the mystic virtue of conferring longevity on all who have the good luck to taste them. It was by these peaches that the date of the banquet was fixed. The tree put forth leaves once every three thousand years, and it required three thousand years after that 36 Qunxian zhushou tu best represents Ren Yi?s talent as a professional painter during his early artistic life. Ren?s creativity and gift as a painter is evidently manifested by his ability to deal with such a complex and diverse scene in such an orderly and harmonious way. Each of the twelve hanging scrolls is not only harmoniously integrated into the whole screen, but also on its own can function as a piece of exquisite painting. The re-creation of the figures in the screen represents Ren?s figure painting accomplishments in the style of Chen Hongshou (1598- 1652), which is characterized by meticulous brushwork and bright colors. However, although the screen shows an imaginary grand banquet held in Heaven, it still has a strong link with reality. Ren Yi may have intended to suggest that some similar event happened on earth, as can be seen from the immortals? expressions and manners. They look almost the same as the common people on earth, although they are rendered in archaic and strange forms. It can be inferred that this screen might have been commissioned by some wealthy merchant in Shanghai to serve as a birthday gift for his mother or grandmother, because of such closeness to reality and the existing ?custom of presenting women fifty years of age with an image of Hsi Wang-mu.? 71 In addition to pictures of mythological figures, Ren also painted pictures of legendary and historical figures. Like mythological figures, legendary and historical for the fruit to ripen. These were Hsi Wang-mu?s birthdays, when all the immortals assembled for the great feast, the occasion being more festive than solemn, for there was music in invisible instruments and songs not from mortal tongues.? See Soong, ?A Visual Experience in Nineteenth-Century China: Jen Po-nien (1840-1895) and the Shanghai School of Painting,? 88. 71 Ibid. , 89. 37 figures were also popular among the common people and thus were in great demand in the art market of nineteenth-century Shanghai. For example, Ren painted Fengchen sanxia (Three Chivalrous Warriors) several times. The three warriors here are Qiu ran gong ?, Li Jing ?? and Hong fou nu , who are legendary figures from a novel titled Qiu ran ke zhuan ? (Biography of Qiu ran ke) written during the Tang dynasty. Hong fou nu, originally a singing girl belonging to the minister Yang Su of the Sui dynasty, was deeply impressed by Li Jing when Li Jing met her master, and thus she eloped with him. On the way to Taiyuan ? , they met Qiu ran gong. Hong Fou nu considered Qiu as a hero and thus became his sworn sister. Then Qiu took Hong and Li to his home and gave all his property and treasure to Li, so that Li could help a wise master to make his name in the near future, while Qiu himself went somewhere else to start a new career. 72 The hanging scroll Fengchen sanxia made in 1880 (Shanghai Museum, figure 13) particularly represents Ren Yi?s style during the prime of his artistic life in Shanghai. In this painting Ren did not exactly reproduce the scene according to the description in the novel Qiu ran ke zhuan (Biography of Qiu ran ke). For example, the setting of this painting seems to be in a city, rather than in the regions north of The Great Wall , where the three chivalrous warriors met and departed. It seems that here Ren paid more attention to the composition, coloring and design of the painting itself. According to Li Chu-tsing, such an unusual painting may reflect that ? Ren Bonian [during his prime of artistic life] turned from depictions of real people and scenes to [those that] emphasize changes of appearance, color, lines, and forms. 72 Cited in Shan Guoqiang, Ren Bonian, 62. For Chinese text, see Appendix I (14). 38 Thus such paintings mainly function as decoration, which is characteristic of the Shanghai school.? 73 Genre Scenes of Ordinary People Ren painted a few genre scenes, but not many. Such paintings of ordinary people were close to reality and thus easily identifiable and accessible to the populace, who were usually not well educated and purchased paintings mainly for decoration. In consequence, his genre scenes expanded Ren?s potential audience and customers, and thus undoubtedly were beneficial to Ren?s career as a professional painter in Shanghai. Wan niao ren ? (Man Playing with a Bird, 1882, China Art Academy, Shanghai; figure 14) is a typical example, reflecting the leisure life of the wealthy in the nineteenth-century China. The painting is of a pot-bellied man holding up a birdcage in one hand to look at the bird, his eyes narrowed, and meanwhile shaking a goose feather fan in the other hand. Some features of the subject indicate his wealth and high social status, e.g. his long fingernails and big belly. The representation here is very lively, spontaneous and humorous. Mai rou tu ? (?Selling Meat?, probably painted in 1881, Palace Museum, Taipei; figure 15) is another typical example. It represents a scene in which an old man with his little grandson waited for a butcher to sell them a piece of pork, while the butcher was busy weighing and chatting with another bearded middle-aged man. Here, three different expressions are vividly represented: (1) The butcher?s carefulness in weighing, (2) the bearded 73 Li Chu-tsing and Wan Ching-li, Zhongguo xiandai huihua shi: Wan Qing zhibu, 1840 zhi 1911 (History of Modern Chinese Painting: Paintings in the Late Qing Period, 1840-1911), 108. For Chinese text, see Appendix I (15). 39 middle-aged man?s absent-mindedness in chatting, and (3) the eagerness of the old man and his grandson waiting for a piece of pork from the butcher. As a matter of fact, Ren?s way of depicting of subjects which reflect urban culture and life is influential in the general painting style of the Shanghai school. As Li Chu-tsing points out, ?He [Bonian] portrays ordinary people as heroic characters and thus combines elegance with vulgarity, which sets a good example for the painting style of the Shanghai school.? 74 74 Ibid. For Chinese text, see Appendix I (16). 40 Chapter 4 Historical Background of Commercialism in Ren Yi?s Figure Painting: Eighteenth-Century Yangzhou Painting In addtition to the economic, social and cultural circumstances in late nineteenth-century Shanghai, there is another important historical factor which influenced Ren Yi?s figure painting; that is, the legacy of eighteenth-century Yangzhou painting. Historically, the commercialism manifested in eighteenth- century Yangzhou painting, especially in artworks by Yangzhou baguai ???? (the Eight Eccentrics of Yangzhou), had significant impact on Ren Yi?s figure painting. Eighteenth-Century Yangzhou Painting: The Forerunner of the Shanghai School Yangzhou, once called Guangling ? in ancient times, was the most prosperous city in China during the eighteenth century. Located on the northern bank of the Yangtze River, Yangzhou first became an important city during the Six Dynasties. But its days of glory began with Sui Dynasty, when the Grand Canal fi ? linking the rice-producing Jiangnan ??area with the capital Luoyang was built, rendering Yangzhou a pivot connecting the lower Yangtze River area with the political center in the north. From the Tang Dynasty on, ?[w]ith an influx of material goods from its hinterland, Yangchow was a trade center for commodities, such as tea, salt, rice, and handicrafts, as well as industry and services, such as marine 41 architecture, jewelry making, and entertainment.? 75 However, it was during the eighteenth century, with the establishment of the Salt Transportation Superintendency by the Qing government and the continued Ming policy granting this city the privilege of monopolizing the salt trade, that Yangzhou came to be the most economically powerful city in China. At that time Yangzhou replaced Suzhou as China?s most prosperous city. Accordingly, the salt merchants of Yangzhou, most of whom originally came from Huizhou ? (a poor mountainous region in south Anhui province), became fabulously wealthy. It is reported that, ?[D]uring most of the eighteenth century, the so-called golden age of the Liang-huai salt merchants, Yangchow merchants controlled the salt supply to one-quarter of the population of the empire, which numbered about 300 million by 1800. The merchants? average aggregated profit is estimated to have been about 5 million taels of silver annually during the latter half of the eighteenth century.? 76 With the economic prosperity of Yangzhou came heightened interest in culture. Scholars, poets, painters, and other members of cultural and intellectual circles were attracted to the city, and great art collections and libraries were established. Literary gatherings became one of the fashionable activities in Yangzhou. The painting The Literary Gathering at a Yangzhou Garden (1743, The Cleveland Museum of Art, figure 16) is a case in point. It shows the brothers Ma Yueguan 75 Ginger Cheng-chi Hs?, A Bushel of Pearls: Paintings for Sale in Eighteenth- Century Yangzhou (Stanford: Stanford University Press, 2001), 4. 76 Ibid. 42 (1686-1755) and Ma Yuelu (1697-after 1766) 77 hosting a party with sixteen members of the Han-jiang shishe ? ? who are divided into five groups in a garden, engaging in leisure activities such as reciting poetry, flower culling, music making, and painting appreciation. The most influential artistic group in eighteenth-century Yangzhou is known as Yangzhou baguai???? (the Eight Eccentrics of Yangzhou), although their number was not limited to eight, and they were not necessarily eccentric. They included such painters as Hua Yan (1682-1756), Gao Fenghan ?? (1683- 1748), Wang Shishen ?? (1686-1759), Li Shan ? (1686-1762), Chen Zhuan ? (1686-?), Jin Nong ?? (1687-1763), Huang Shen ? (1687-ca.1772), Gao Xiang ? (1688-1753), Zheng Xie ?? (1693-1765), Li Fangying ??? (1697- 1756), Yang Fa ? (1690-?), Min Zhen ?currency1 (1730-?), Luo Ping ?? (1733-1799), and a number of others. Some of them were native to the Yangzhou area, but most of them were immigrants. Because Yangzhou had a reputation for great wealth and generous patronage, these artists were attracted to the city in search of a private mode of expression, and to sell their art for a living. In a sense, Yangzhou baguai can be called the forerunner of the Shanghai school, particularly in terms of their painting style and the subject matter of their artworks. Yangzhou baguai used brush, ink, and color in personal and expressive ways. Their painting turned away from Orthodox artistic statements that did not allow 77 The two Mas, wealthy Anhui salt merchants whose family was in its third generation of residence in Yangzhou, were known as the most generous patrons of art and culture in Yangzhou. For a detailed discussion about the two Mas, see Ibid. , 17- 63. 43 for personal expression. It seems that most of the painters in Yangzhou were ?far less concerned with broad, general issues than with their own personal feelings and tragedies.? 78 As to the subject matter of Yangzhou painting, the Yangzhou painters explored new areas of subject matter related to the mundane aspects of daily life, in addition to the traditional literati subjects such as the ?Four Gentlemen? '?? (the plum blossom, bamboo, orchid, and chrysanthemum), and the ?Three Friends of Winter? ? ?? (the pine, bamboo, and plum blossom). For instance, Luo Ping painted ghosts (Two Ghosts, date unknown, location unknown, figure 17) and informal portraits (Portrait of the Artist?s Friend Yi?An, Ching Yuan Chai Collection, figure 18), and Huang Shen painted common people in their everyday surroundings (Genre Figures at Play, 1730, Ching Yuan Chai Collection, figure 19), and informal figure paintings (Sounding a Musical Stone, probably 1739, National Gallery of Canada, Ottawa; figure 20). Furthermore, there seemed to be ?specialization in subject matter? 79 for the eighteenth-century Yangzhou painters. As Chu-tsing Li points out, Thus Wang Shishen first and Jin Nong later were known for their plum blossoms. Zheng Xie was most famous for his bamboos and orchids. Li Shan and Li Fangyin were specialists in flowers and plants and pine trees. Huang Shen was mainly a figure painter. Luo Ping caused a sensation when he painted ghosts. Hua Yan though versatile was well known fir his birds and flowers in colors as well as in historical 78 Li, ?Eighteenth-Century Foundations in Modern Chinese Painting,? 323. 79 Ibid. , 322. 44 subjects and personages. Gao Fenghan, after his right arm was handicapped in the middle of his life, became known for his left- handed paintings. 80 All the abovementioned characteristics of Yangzhou painting, i.e., personal and expressive painting style, exploration of new areas of subject matter related to the mundane aspects of daily life, and specialization in subject matter, ?can be said to be the result of a business-dominated society, first [found] in Yangzhou and later in Shanghai.? 81 However, although both the Yangzhou painters and Shanghai painters lived by painting, the Yangzhou artists showed more reluctance to be placed exclusively in a commercial world and in the position of having to please their patrons than the Shanghai painters in the late nineteenth century. In Zheng Xie?s letter to his brother, he mentioned that it was both vulgar and disgrace to have been forced to earn a living by calligraphy or painting. 82 As a matter of fact, the eighteenth-century Yangzhou painters were essentially literati, although they made a living by selling their artworks like the professional painters. Some of them acquired jinshi ??degrees and served as officials; some even served at court in Beijing. Others were from literati families with good backgrounds in poetry, calligraphy, and painting. A few may have been 80 Ibid. , 322-323. 81 Ibid. , 324. 82 Vita Giacalone, The Eccentric Painters of Yangzhou (New York: China House Gallery; China Institute in America,1990), 14. 45 originally of lower status, but they seemed to aspire to be literati painters. 83 In contrast, the nineteenth-century Shanghai painters were essentially professionals, although a few of them, such as Zhang Zhiwan ?? (1811-1897) and Weng Tonghe ??? (1830-1904), still served as officials of high rank and painted in the typical literati style. The Shanghai painters openly and shamelessly painted whatever was pleasing to the public in order to live by their artworks. Many Shanghai artists came to this metropolis in order to seek their fortunes, and thus they were equivalent to independent businessmen, no longer pretending to be high-minded literati painters who painted only for their own entertainment and self-cultivation as before. Their art was intentionally made for the market, and they had no qualms about painting for such a commercial purpose. As Stella Lee comments, ?[I]t was only when the domination of society by the commercial bourgeoisie reached its full vitality in nineteenth century Shanghai that the artists were able to overcome their scruples and enjoy unashamedly the profits they had earned by their own efforts.? 84 83 For the general biographical notes concerning members of Yangzhou baguai, see Ibid. , 32-68. 84 Stella Yu Lee, ?Art Patronage of Shanghai in the Nineteenth Century,? in Artists and Patrons: Some Social and Economic Aspects of Chinese Painting, edited by Chu- tsing Li (Seattle: University of Washington Press, 1989), 225-226. 46 Chapter 5 Conclusion Based on the analysis in the previous chapters, it can be concluded that Ren Yi?s figure painting in a sense functions as a commodity created for a specific art market; it is not made just for art?s sake or for the painter?s own entertainment, as was what the literati amateur painters had done before. Such commercialism is best manifested in three major categories of Ren?s figure painting: Namely, portraits, narratives of mythological, legendary and historical figures, and genre scenes of ordinary people. The three categories of Ren?s figure painting suggest three strategies for Ren to live by painting: (1) Making connections to establish himself in Shanghai through portraits, (2) catering to the tastes and needs of the populace through narratives, and (3) expanding his potential audience and customers through genre scenes. The commercialism in Ren Yi?s figure painting had a close relationship not only with the circumstances in Shanghai, where a majority of the artworks were produced, but also with Ren Yi?s personal experiences as a professional painter, as well as the historical legacy of commercialism in eighteenth-century Yangzhou painting. First of all, the commercialism in Ren?s figure painting is directly related to the rapid growth of Shanghai and its dramatic development into a commercial center during the late nineteenth century. Secondly, seen from Ren Yi?s biographical notes, it can be inferred that, as a professional painter, Ren had to tailor his artworks to meet the demands of his patrons and potential customers. Thirdly, from an historical 47 standpoint, the commercialism in Ren?s figure painting is heavily influenced by the commercialism in eighteenth-century Yangzhou painting. In a sense, the Yangzhou painting anticipates the Shanghai painting, particularly in terms of painting style and subject matter. The economic aspect of artworks, or commercialism, is a very hot topic in the field of art history. To put the artworks in the perspective of social-economic art history, one can see the value and quality which they possess, beyond the objects themselves. Such analysis contributes to comprehensive understanding of the artworks. Although this thesis does not include any discussion of general ideas about commercialism in artworks, this topic is itself also worthy of further study. Ren Yi is one of the most outstanding Shanghai painters in the Chinese art world during the late nineteenth century. He is an expert in figure painting. To relate commercialism to Ren?s figure painting is a tentative attempt to better understand the issue of commercialism and the artist himself. 48 FIGURES Figure 1. Ren Yi and Hu Yuan, Portrait of Ren Songyun, 1869. Hanging scroll, ink and color on paper, 172.7 x 47.1 cm. Beijing, Palace Museum. Source: Shan Guoqiang, Ren Bonian, p.7. 49 Figure 2. Ren Yi, Dongjin huabie tu (Saying Farewell at the Ling Bridge in Ningbo), 1868. Handroll, ink and color on paper, 34.3 x 136 cm. China Art Gallery, Beijing. Source: Shan Guoqiang, Ren Bonian, p.14. 50 Figure 3. Ren Yi, Jiaolin huansu tu (Escaping the heat in the shade of banana palms), 1872. Hanging scroll. Location unknown. Source: Ding Xiyuan, Ren Bonian,p.40. 51 Figure 4. Ren Yi, Portrait of Jin Nong?s Noon Nap beneath Banana Palms, inscription dated 1760. Hanging scroll, ink and color on paper. Shanghai Museum. Source: Richard Vinograd, Boundaries of the Self: Chinese Portraits, 1600-1900, plate 13. 52 Figure 5. Ren Yi and Hu Yuan, Portrait of Gao Yongzhi at Age Twenty-eight, 1877. Hanging scroll, ink and color on paper. Shanghai Museum. Source: Shan Guoqiang, Ren Bonian, p.20. 53 Figure 6. Ren Yi, Hengyun shanmin xingqi tu (The Hengyun Mountain Man as a Traveling Beggar), 1868. Hanging scroll, ink and colors on paper, 147 x 42 cm. Central Academy of Fine Arts, Beijing. Source: Li Chu-tsing, and Wan Ching-li, Zhongguo xiandai huihua shi:Wan Qing zhibu, 1840 zhi 1911, Fig. 2.73. 54 Figure 7. Ren Yi, Sanyou tu (Three Friends), 1884. Hanging scroll, ink and color on paper, 36.1 x 63.5 cm. Palace Museum, Beijing. Source: Shan Guoqiang, Ren Bonian, p.89. 55 Figure 8. Ren Yi, Sanyou tu, inscription. 56 Figure 9. Ren Yi, Zhong Kui zhanhutu (Image of Zhong Kui killing a fox spirit), 1878. Hanging scroll, ink and color on paper, 134.3 x 65.5 cm. Museum of Art, Tianjin. Source: Xue Yongnian, Ren Bonian, p.15. 57 Figure 10. Ren Yi, Image of Zhong Kui, 1887. Hanging scroll, ink and color on paper, 76 x 143 cm. Duo Yun Xuan, Shanghai. Source: Shan Guoqiang, Ren Bonian, p.101. 58 Figures 11 & 12. Ren Yi, Qunxian zhushou tu (Gathering of the Immortals in Wishes of Long Life), 1878. Screen (12 hanging scrolls), ink and color on gold foil, each 206.8 x 59.5 cm. Association of the Artists, Shanghai. Source: Xue Yongnian, Ren Bonian, pp.10-11. 59 Figure 13. Ren Yi, Fengchen sanxia (Three chivalrous warriors), 1880. Hanging scroll, ink and color on paper, 122.7 x 47 cm. Shanghai Museum. Source: Li Chu-tsing, and Wan Ching-li Zhongguo xiandai huihua shi:Wan Qing zhibu, 1840 zhi 1911, Fig. 2.83. 60 Figure 14. Ren Yi, Wan niao ren (Man playing with a bird), 1882. Hanging scroll, ink and color on paper, 34.5 x 36 cm. China Art Academy, Shanghai. Source: Wang Jingxian, Ren Bonian zuo pin ji. 61 Figure 15. Ren Yi, Mai rou tu (Selling meat), probably 1881. Hanging scroll, ink and color on paper. Palace Museum, Taipei. Source: Li Chu-tsing, and Wan Ching-li, Zhongguo xiandai huihua shi:Wan Qing zhibu, 1840 zhi 1911, Fig. 2.84. 62 Figure 16. Fang Shishu and Ye Fanglin, The Literary Gathering at a Yangzhou Garden, 1743. Handscroll, ink and color on silk. 31.7 x 203.8 cm. The Cleveland Museum of Art. Source: Vita Giacalone, The Eccentric Painters of Yangzhou, pp.18- 19. 63 Figure 17. Luo Ping, Two Ghosts, date unknown. Fan mounted as album leaf, ink and light color on paper, 28 x 62.2 cm. Location unknown. Source: Vita Giacalone, The Eccentric Painters of Yangzhou, No.32. 64 Figure 18. Luo Ping, Portrait of the Artist?s Friend Yi?An, 1798. Hanging scroll, ink and color on paper, 119.4 x 43.8 cm. Ching Yuan Chai Collection. Source: Vita Giacalone, The Eccentric Painters of Yangzhou, No.31. 65 Figure 19. Huang Shen, Genre Figures at Play, leaf J: Five Musicians, 1730. Album of twelve leaves, ink and color on paper, each 34.4 x 44.1 cm. Ching Yuan Chai Collection. Source: Vita Giacalone, The Eccentric Painters of Yangzhou, No.19. 66 Figure 20. Huang Shen, Sounding a Musical Tone, probably 1739. Hanging scroll, ink and light color on paper, 115.5 x 60.3 cm. National Gallery of Canada, Ottawa. Source: Vita Giacalone, The Eccentric Painters of Yangzhou, No.20. 67 APPENDIX I: THE CITED CHINESE TEXTS (1) fifl ??fi??? ???????????? ?? `???? ??fl? ????? ?(Chapter 1, page 10) (2) ?? ??????? ? fl?? ? ?? ??fl fl ? ? ?? (Chapter 1, page 11) (3) ? ? ? ?? ? ??? ??? ??? ? ? ? ????? ??? ? ? ??' ???? (Chapter 1, page 13) (4) ???? ?? ? ?? ? ?? ????? ? ? ? ? ? ???? ? ????????? ??? ? ??? ? ?? ???? ????? ??? ? ???????? ? ???????? ?? ????????? (Chapter 2, page 16) (5) ?? ??? ???????? ? ??????? ?? ?fi fl ????? ??? ??????????? ???fl????? ?? ? fl??? ?????????? ?????????? ??? ????????????? ???? ?????? ? ??? ?? ???? ????? ????? ????? ????????????? ???????????????? ??? ???? ?? ??????? ???????? ? ? ????????? ????? ? ??????? ???? ??? ? ?? ? ??? ???? ? ???? ??????? ? ?????????? ??? ??? ??? ?? ?? ???? ? ??? ? ? ? ???? fi ? ??? ? ? ??? ???? ???? ?? ??????? ??????? ? ? ?? ? ? ??? ????fi ???? ?? ??????????? ?? currency1 ?? (Chapter 2, pages 17-18) (6) ??? ''????? ?????? ?????fifl ? ?????? ??????? ??? ??????? ???? 68 ??? ?? ` ? ??????????????? ??? ?????????? ?????? ???? ? ????? ?? ????? ??????currency1?? ??? ?? ?? ( Chapter 2, pages 20-21) (7) ?? ? ? ?? ??? ?(Chapter 2, page 21) (8) ? ?? ??? ??? ?? ? ? ??????? ??? ? ?? ? ?? ? ?( Chapter 2, page 22) (9) ? ? ?????? ?? ???? ?? ?????? ? ?? ?? ?fi ?(Chapter 3, page 26) (10) ????? ???????(Chapter 3, page 27) (11) ?? ??? ?????? (Chapter 3, page 27) (12) ?? ?? ????????? ???? ? (Chapter 3, page 28) (13) ?? ????? ??? ??????????????? (Chapter 3, page 28) (14) ? ???fi? ???? ???? ? ?? ????currency1??????????? ??? ?? ? ???? ?????? ?? ?` ?? ??? ? ???? ??? ??? ?????????currency1????????? (Chapter 3, page 34) (15) ?? ??? ???????????? ???? ?? ? ? ??? ???????? ?? ?? ? ??????? ?? ???(Chapter 3, page 35) (16) ?? ` ???????????????????? ?? ?????????? ??? (Chapter 3, page 36) 69 APPENDIX II: LIST OF REN YI?S FIGURE PAINTINGS Sources: Abbrevation Author & Title Bonian Shan, Guoqian ?? , RenBonian ??? DXY Ding Xiyuan ?, Ren Bonian: nianpu, lunwen, zhen cun, and zuopin ????? ? ?? ? (Ren Bonian: Chronology, Theses, Artifacts and Works) GCX Gong, Chanxing ?, ed. Ren Bonian yanjiu ??? (Studies on Ren Bonian) Hanmo Hanmo ? , vol. 28 Ren Bonian ren wu hua te ji ???????? Jingpin Ren Bonian jingpin ji ???? ? (Collection of Ren Bonian?s masterpieces) Ren Zhongguo jinxiandai mingjia huaji: Ren Bonian ????? ? ????? (Collection of Paintings in Modern China: Ren Bonian) Wan Qing Li, Chu-tsing ???, and Wan, Ching-li ???, Zhongguo xiandai huihua shi: Wan Qing zhibu, 1840 zhi 1911 ?????????? ?? (History of Modern Chinese Painting: Paintings in the Late Qing Period, 1840 to 1911) XYN Xue Yongnian???, Ren Bonian??? Zuopin Wang, Jingxian ??, Ren Bonian zuopin ji ??? ? (Collection of Ren Bonian?s Artworks) 70 Year Title Format Dimension Location Illustration Textual Reference Yulou ren zui xinghua tian ????? ?? Hanging scroll; ink and color on paper; ink and color on paper N/A Palace Museum, Beijing Zuopin plate 23 Renwu ?? Hanging scroll; ink and color on paper; ink and color on paper N/A Private Collection (Lin Erqing ??) GCX p.66 1865 Shin? ? Hanging scroll; ink and color on paper; ink and color on paper 128.9 x 32.9 cm Palace Museum, Beijing Ren plate 1 Bonian p.35 Xiaojiajiang huabie tu ? ????? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing Zuopin plate 24 Jingpin plate 1 Ren plate 2 DXY plate 31 Bonian p.13 Bonian p.41 1866 Fang Qiaoling zhi zunren xiang ????? ?? Hanging scroll; ink and color on paper N/A Location unknown DXY p.19 71 Meihua shi?n? tu ? ?? ? Hanging scroll; ink and color on paper N/A Zhejiang Provincial Museum, Hangzhou DXY p.19 GCX p.66 1866 Ershisi xiao tu ?'? ? Album leaf; ink and color on paper 15.4 x 20.7 cm Guangdong Provincial Museum, Guangzhou DXY pp.19-20 GCX p.66 Songxia wedao ? ?? Hanging scroll; ink and color on paper N/A Museum of Art, Tianjin Wan Qing plate 2.74 Fengchen sanxia tu ? ???? Hanging scroll; ink and color on paper 114.8 x 43.6 cm Suzhou city Museum, Suzhou Ren plate 3 Fanhu Jushi sishiba sui xiaoxiang (Zhou Xian xiang) ?? ??'?? ??? (? ??) Hanging scroll; ink and color on paper N/A Zhejiang Provincial Museum, Hangzhou DXY pp.20-21 GCX p.66 1867 Sanxia tu ? ?? Hanging scroll; ink and color on paper N/A Art Gallery in memory of Xu Beihong, Beijing DXY p.21 72 1867 Songxia wedao ? ?? Hanging scroll; ink and color on paper 146.5 x 40 cm People?s Fine Arts Publishing House, Tian Jin Ren plate 3 Dongjin huabie tu ???? Handscroll; ink and color on paper 34.1 x 135.8 cm China Art Gallery, Beijing Jingpin plate 14 XYN pp.4-5 Zuopin plate 27 GCX plates 6-7 Hanmo pp.56-57 Bonian pp.14-15 Boying sishi xiaoxiang tu ??'?? ?? Handscroll; ink and color on paper 43.2 x 132.2 cm Suzhou City Museum, Suzhou GCX p.67 Ren Fuchang xiang ?? ? Hanging scroll; ink and color on paper 116.5 x 31 cm China Art Gallery, Beijing Jingpin plate 5 Liusheng xiang ? ? Hanging scroll; ink and color on paper N/A Nanjing Musem, Nanjing Jingpin plate 2 Zuopin plate 30 1868 Doumei tu ?? Hanging scroll; ink and color on paper 108.5 x 43.8 cm Palace Museum, Beijing Ren plate 6 Jingpin plate 4 Bonian p.53 73 Hengyun Shanmin xingqi tu ? ?? ?? ? Hanging scroll; ink and color on paper 147 x 41.5 cm Central Academy of Fine Arts, Beijing Ren plate 213 Zuopin plate 28 Bonian p.16 Wan Qing plate 2.73 Hu Gongshou furen xiang ????? ? Hanging scroll; ink and color on paper 131 x 53 cm Art Gallery in memory of Xu Beihong, Beijing Ren plate 167 Jingpin plate 8 Bonian p.15 Peiqiu furen xiaoxiang ? ????? Hanging scroll; ink and color on paper 159.7 x 48.3 cm Suzhou City Museum, Suzhou Ren plate 8 Sha Fu sanshijiu sui xiaoxiang ? ????? ?? Hanging scroll; ink and color on paper 128.4 x 32.3 cm Jiangsu Provincial Museum, Nanjing Ren plate 7 Jingpin plate 3 Zuopin plate 29 1868 Chen Yunsheng xiang ? ?? Hanging scroll; ink and color on paper N/A Zhejiang Provincial Museum, Hangzhou GCX p.67 1869 Songyun xiansheng xiang ?? ? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing Zuopin plate 31 DXY plate 28 Bonian p.7 74 Chen Tuan xiang ? ? Round fan; ink and color on paper N/A Zhejiang Provincial Museum, Hangzhou DXY p.26 1869 Renwu ?? Handscroll; ink and color on silk 28 x 41.5 cm Luxun Academy of Fine Arts, Shenyang GCX p.68 Shenfu xiaoxiang ? ??? Handscroll; ink and color on paper 40 x 95 cm Duoyun Xuan ( ?? ?), Shanghai Hanmo p.70 DXY plate 45 Chuixiao yinfeng ? ?? Hanging sroll; ink and color on paper 76.8 x 40.5 cm . People?s Fine Arts Publishing House, Tianjin Ren plate 10 1870 Shitang xiansheng yingbin tu ? ?? ? Hanging sroll; ink and color on paper N/A Location unknown Zuopin plates 33-34 1870 Yongzhi xiansheng wushisui zaochao tu xiaoxiang ? ? ?? ????? ? Handscroll; ink and color on paper 66.6 x 139.7 cm Shanghai Museum, Shanghai Hanmo pp.54-55 DXY color plate 12 Bonian p.28 75 Su Wu muyang ?? ?? Hanging scroll; ink and color on paper 127.5 x 51.3 cm Central Academy of Fine Arts, Beijing GCX p.68 DXY p.28 1871 Shitou maque lao shaoniani ? ? ? ? Folding fan; ink and color on paper N/A Central Academy of Fine Arts, Beijing GCX p.68 Xianrui tu ? Hanging scroll; ink and color on paper 149 x 78 cm China Art Gallery, Beijing Zuopin plate 43 Jingpin plate 6 Lifo tu ? ? \ Hanging scroll; ink and color on paper 104 x 32 cm China Art Gallery, Beijing Jingpin plate 7 Zuopin plate 44 Zhong Kui ?? Hanging scroll; ink and color on paper 133.5 x 66.4 cm Central Academy of Crafts and Fine Arts, Beijing Ren plate 15 1872 Renwu ?? ( Inscription: ?? ? fi?? ???? ??) Folding fan; ink and color on gold foil N/A Location unknown Zuopin plate 35 76 1872 Jiaolin huansu tu ? ??? Hanging scroll N/A Location unknown DXY plate 8 Ge Zhonghua xiang ? ? Hanging scroll; ink and color on paper 118.6 x 60.3 cm Palace Museum, Beijing Ren plate 18 Jingpin plate 18 XYN p.9 DXY plate 7 Bonian p.39 Magu xianshou tu ? ?? Hanging scroll; ink and color on paper N/A Nanjing Museum, Nanjing GCX p.70 1873 Renwu ?? Album N/A Location unknown DXY p.31 Su Wu muyang ?? ?? Hanging scroll; ink and color on paper 180.8 98.3 cm Central Academy of Crafts and Fine Arts, Beijing Ren plate 22 N? xian ? Hanging scroll; ink and color on paper 175 x 92 cm Private Collection Ren plate 23 1874 Erlao bingzuo tu ?? Hanging scroll; ink and color on paper 116 x 57.8 cm People?s Fine Arts Publishing House, Tianjin Ren plae 21 77 Zhong Kui ?? ( Inscription: ??? ? ? ? ????? fl?? ??) Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 48 1874 Zhong Jinshi ??? Hanging scroll; ink and color on paper 135 x 63.5 cm China Art Gallery, Beijing Ren plate 19 Wan Qing plate 2.77 Renwu ?? Folding fan; ink and color on paper N/A Location unknown GCX p.71 1875 Shin? xianhe tu ? ?? ? Hanging scroll; ink and color on paper N/A Location unknown DXY p.34 Kuixing tu ?? Hanging scroll; ink and color on paper N/A Location unknow Wan Qing plate 2.78 1876 Shenying tu ? Hanging scroll; ink and color on paper N/A Suzhou City Museum, Suzhou Ren plate 214 Zuopin plate 432 Bonian p.18 78 1876 Xieqin fangyou tu ? ?? Hanging scroll; ink and color on paper N/A Location unknown DXY p.36 Fengyu duqiao ?? Hanging scroll; ink and color on paper 116x 52.5 cm Palace Museum, Beijing Ren plate 29 Bonian p.65 Queping zhongxuan ? Hanging scroll; ink and color on paper 184 x 95 cm China Art Gallery, Beijing Jingpin plate 19 Zuopin plate 57 Bonian p.47 Yicheng xiaoxiang ?? Hanging scroll; ink and color on paper N/A Central Academy of Fine Arts, Beijing Ren plate 27 Zuopin plates 58-59 Shinong xiaoxiang ? ??? ( Inscription: ?? ) Hanging scroll; ink and color on paper 49 x 46.4 cm Suzhou City Museum, Suzhou Ren plate 31 Zuopin plate 52 1877 Shinong xiaoxiang ? ??? ( Inscription: ????? ?) Hanging scroll; ink and color on paper 74.9 x 48.4 cm Suzhou City Museum, Suzhou DXY p.36 GCX p.71 79 Zhongying wushiliu sui xiaoxiang ????? ?? Hanging scroll; ink and color on paper N/A Private Collection (Dong Xiwen ?) Zuopin plates 54-55 GCX plate 8 Fanshi xiansheng wushi xiaoxiang ? ?? ?? Hanging scroll; ink and color on paper N/A Private Collection (Qian Jingtang ) Jingpin plate 22 Zuopin plate 2 Kuixing tu ?? Hanging scroll; ink and color on paper 134 x 61 cm Central Academy of Fine Arts, Beijing Ren plate 28 Quxie baofu tu ? Hanging scroll; ink and color on paper N/A Location unknown DXY plate 49 Zhong Kui xi gui tu ?? ??? Hanging scroll; ink and color on paper N/A Shanghai Museum, Shanghai DXY p.37 1877 Feng Jingshan xiang ?? ?? Hanging scroll; ink and color on paper N/A Shanghai Museum, Shanghai DXY color plate 35 80 1877 Gao Yongzhi ershiba sui xiaoxiang ?? ?? ??? Hanging scroll; ink and color on paper N/A Shanghai Museum, Shanghai Zuopin plate 56 Bonian p.20 Shin? ? Round fan; ink and color on paper N/A Location unknown Zuopin plate 68 Zhubi Zhong Kui tu ?? ??? Hanging scroll; ink and color on paper N/A Shanghai Museum, Shanghai DXY p.40 Zui Zhong Kui tu ?? ?? Folding Fan; ink and color on paper 18 x 50 cm China Art Gallery, Beijing Jingpin plate 27 Zhong Kui zhuogui ?? ?? Hanging scroll; ink and color on paper 136 x 66.2 cm Museum of Art, Tianjin Ren plate 32 XYN p.14 Chijian Zhong Kui tu ?currency1??? Hanging scroll; ink and color on paper N/A Location unknown DXY p.40 1878 Fengchen sanxia ?? ?? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing DXY color plate 27 81 Wu Gan (Jutan) xiaoxiang ? ' ??? ?? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing Zuopin plate 67 Chunjiang yufu tu ? ??? Hanging scroll; ink and color on paper 135 x 75.2 cm Palace Museum, Beijing Ren plate 36 1878 Qunxian zhushou tu ????? Screen (12 Hanging scrolls); ink and color on gold foil Each: 206.8 x 59.5 cm Association of the Artists, Shanghai DXY color plates 29-30 Ren plate 180 Jingpin plate 21 XYN pp.10- 11 Zuopin plates 379- 386 Shin? ? Round fan; ink and color on paper D: 25 cm Najing Museum, Nanjing Jingpin plate 24 Muniu ?? Folding fan; ink and color on paper N/A Location unknown DXY color plate 16 1879 Cezhang shangmei ? fi?? Hanging scroll; ink and color on paper 118.5 x 24.5 cm Private Collection (Low Chuck Tiew fl ) Hanmo p.61 82 Taxue xunmei ?? ?? Round fan; ink and color on paper D: 28.7 cm China Art Gallery, Beijing XYN p.13 L?bei yinshi ?? Round fan; ink and color on paper N/A Location unknown Zuopin plate 3 Shoushi tu ? ? Handscroll; ink and color on paper 97.7 x 51.7 cm People?s Fine Arts Publishing House, Tianjin Ren plate 38 XYN p.8 DXY plate 3 Wu Wenxun songxia xunshi xiaoxiang ? ?? ?? ?? Hanging scroll; ink and color on paper N/A Tianyi Ge ? , Ningbo DXY p.45 Gan Mo lianjian tu ? ??currency1? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing Ren plate 39 Zuopin plate 74 1879 Ge Zhichuan yiju tu ?? ???? Hanging scroll; ink and color on paper N/A Shanghai Museum, Shanghai DXY color plate 31 1880 Zhong Kui zhuogui tu ? ???? Hanging scroll; ink and color on paper N/A Location unknown DXY p.46 83 Sanduo tu ? ?? Hanging scroll; ink and color on paper N/A Location unknown DXY plate 46 Xunmei tu ? ?? Hanging scroll; ink and color on paper 174.5 x 48 cm Private Collection (Lau Muikit fl? ) Hanmo p.78 Shen Luting dushu tu ? `??? Hanging scroll; ink and color on paper 33 x 40 cm Palace Museum, Beijing Ren plate 42 Zuopin plate 81 Bonian p.61 Fengchen sanxia tu ? ???? Hanging scroll; ink and color on paper N/A Location unknown DXY p.48 Xingl? tu ? ?? Hanging scroll; ink and color on paper 132.3 x 50 cm China Art Gallery, Beijing Jingpin plate 30 Zuopin plate 82 Fengchen sanxia tu ? ???? Hanging scroll; ink and color on paper 122.7 x 47 cm Shanghai Museum, Shanghai Zuopin plate 83 Hanmo cover plate DXY color plate 33 Wanqing plate 2.83 1880 Zhulin dushu xiang ? ??? Hanging scroll; ink and color on paper N/A Location unknown DXY p.48 84 Renwu ?? (Inscription: ???? ??? ? ????? ??) Hanging scroll; ink and color on paper N/A Location unknown GCX p.76 Zhong Kui tu ??? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plates 90-91 GCX plate 10 Zhubi Zhong Kui xiang ? ???? Hanging scroll; ink and color on paper 134 x 66 cm Palace Museum, Beijing XYN p.14 DXY color plate 20 Tingqin guanquan tu ?fl?? Handscroll; ink and color on paper 37.5 x 143 cm China Art Gallery, Beijing Zuopin plate 84 Jingpin plate 26 Renwu ?? (Inscription: ????? ?? ?? ????? ?fl?? ?) Hanging scroll; ink and color on paper N/A Location unknown GCX p.76 1880 Baxian ?? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plates 86-89 85 Longn? muyang tu ? ??? Hanging scroll; ink and color on paper N/A Location unknown DXY p.49 Su Wu muyang tu ? ???? Hanging scroll; ink and color on paper N/A Location unknown DXY p.49 Tang taizong pingzi tu ??? ? Hanging scroll; ink and color on paper N/A Private collection (Zhang Chengwang ? ?) DXY pp.49-50 GCX p.75 Renwu ?? Iinscription: ????? ?? ? fi?? ????? ?) Round fan; ink and color on silk 28 x 28 cm Guangdong Provincial Museum, Guangzhou GCX p.76 1880 Zhang Yisan xiaoxiang ? ? Handscroll; ink and color on paper 28.5 x 39.6 cm China Art Gallery, Beijing Jingpin plate 23 Renwu ?? Folding fan; ink and color on paper 24.9 x 53.1 cm China Art Gallery, Beijing GCX p.77 1881 L?tian?an xueshi tu ? ? ? Hanging scroll; ink and color on paper 136.6 x 33 cm Museum of Art, Tianjin Ren plate 47 86 L?bei xunshi ??? Hanging scroll; ink and color on paper 136.6 x 33 cm Museum of Art, Tianjin Ren plate 48 Shuyu mudu ??? Hanging scroll; ink and color on paper 136.6 x 33 cm Museum of Art, Tianjin Ren plate 49 Zhin? tu ? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 96 Xu Bu dugeng Album; ink and color on paper N/A Palace Museum, Beijing Zuopin plates 97-98 Yishi yiqi ? ? Album; ink and color on paper N/A Palace Museum, Beijing DXY p.50 1881 Zhong Kui ?? ( Inscription: ?? ? ?? ?? ???? ??? ???? ???? ?fl?? ?) Hanging scroll; ink and color on paper N/A Location unknown GCX plate 11 87 Xishan guanpu ?? fl? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing DXY p.51 Shanjian zhuozu tu ? ? Hanging scroll; ink and color on paper N/A Location unknown Jingpin plate 32 Zuopin plate 5 Yufu tu ?? ? Hanging scroll; ink and color on paper N/A Shanghai Museum, Shanghai GCX p.77 Yanziling Fuchun chuidiao tu ? ? ??? Hanging scroll; ink and color on paper 136.6 x 33 cm Museum of Art, Tianjin Ren plate 46 Renwu huaniao ? ?? Album (12 leaves); ink and color on paper N/A Palace Museum, Beijing DXY p.52 Renwu ?? Screen (4 Hanging scrolls); ink and color on paper N/A Museum of Art, Tianjin DXY p.52 1881 Sanxing tu ??? Hanging scroll; ink and color on paper N/A Shanghai Museum, Shanghai DXY p.78 GCX p.53 88 Shoutian bailu tu ?? ? Hanging scroll; ink and color on paper N/A Private Collection (Qian Jingtang ) DXY p.78 GCX p.53 Wu Zhongying xiang ? ?? Hanging scroll; ink and color on paper 150.6 x 64.8 cm China Art Gallery, Beijing Jingpin plate 31 Hanmo p.47 DXY plate 25 Su Wu muyang tu ? ???? Folding fan; ink and color on paper N/A Location unknown GCX p.78 1881 Mai rou tu ? Hanging scroll; ink and color on paper N/A Palace Museum, Taipei Wan Qing plate 2.84 Wenchang Guan Yu xiang tu ? ?? Hanging scroll; ink and color on paper N/A Location unknown DXY p.54 Kuixing tu ?? Hanging scroll; ink and color on paper N/A Location unknown DXY p.54 1882 Renwu ?? Hanging scroll; ink and color on paper 121.6 x 27.3 cm Liaoning Provincial Museum, Shenyang Bonian p.77 89 Su Wu muyang ?? ?? Hanging scroll; ink and color on paper N/A Location unknown GCX plate 14 Huang daxian ?fi ? Hanging scroll; ink and color on paper 128 x 66.5 cm Private Collection Hanmo p.17 Wuyue piqiu ??? Hanging scroll; ink and color on paper 182.1 x 48.1 cm Palace Museum, Beijing Ren plate 54 Bonian p.69 Renwu ?? ( Inscription: ?? ?? ????) Hanging scroll; ink and color on paper N/A Location unknown GCX plate 12 Guanhe yiwang xiaosuo ? ? Album leaf; ink and color on paper N/A Location unknown GCX plate 13 Zhong Kui ?? Hanging scroll; ink and color on paper 104 x 33.2 cm Central Academy of Crafts abd Fine Arts, Beijing Ren plate 63 1882 Denggao tu ? ? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 128 90 Fengchen sanxia tu ? ???? Hanging scroll; ink and color on paper 182.1 x 48,1 cm Palace Museum, Beijing Ren plate 53 Jingpin plate 35 Zuopin plate 136 Bonian p.63 Shin? yingxi ? ? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing DXY p.55 GCX p.78 Xiaohong dichang wo chuixiao ? ?? Hanging scroll; ink and color on paper 184 x 45.5 cm China Art Gallery, Beijing Jingpin plate 40 Zuopin plate 127 Hanmo E8 DXY color plate 4 Renwu ?? Round fan; ink and color on silk 27.2 x 29 cm Suzhou City Museum, Suzhou GCX p.79 Yan xiansheng diao Fuchun zhi tu ?? ?? Hanging scroll; ink and color on paper 182 x 48 cm Palace Museum, Beijing Jingpin plate 36 Zuopin plate 135 Renwu duiyi ?? ? N/A N/A Location unknown GCX p.80 1882 Yufu tu ?? ? Hanging scroll; ink and color on paper 138.4 x 72 cm Shanghai Museum, Shanghai GCX p.79 91 Wan niao ren xiang ?? Hanging scroll; ink and color on paper 34.5 x 36 cm China Art Academy, Shanghai Zuopin plate 138 Mi Dian baishi tu ??? Hanging scroll; ink and color on paper 126.2 x 52.8 cm China Art Gallery, Beijing Jngpin plate 34 Xizhi ai?e tu ? ?? Hanging scroll; ink and color on paper N/A Location unknown DXY p.56 1882 Guifei zuijiu tu ??? ? Album leaf; ink and color on paper N/A Palace Museum, Beijing Zuopin plate 390 Song tan tu ? ? Hanging scroll; ink on paper N/A Location unknown Zuopin plate 145 Mulan cong jun tu (guan he yi yang xiao se) ? ? ? ( ? ? ) Album; ink and color on paper N/A Location unknown DXY p.57 1883 Zhao Xiaoyun xiang ?? ?? Hanging scroll; ink on paper N/A Location unknown Zuopin plate 166 DXY plate 26 92 Guanyin songzi tu fl ???? Hanging scroll; ink on paper 80 x 34 cm Museum of Art, Tianjin Ren plate 71 Songlin miju ?? Hanging scroll; ink on paper 150.3 x 40.5 cm Central Academy of Fine Arts Ren plate 75 Qingxi youting ?? ?? Folding fan; ink and color on paper 18 x 52 cm China Art Gallery, Beijing Jingpin plate 84 Wu Qing tingzhang xiang ?? ? Hanging scroll; ink on paper N/A Art Gallery in memory of Wu Changshuo, An?ji, Zhejiang DXY p.58 GCX p.81 Renwu ?? (Inscription: ????' ????? ????) Hanging scroll; ink and color on paper N/A Dept. of Chinese Painting, Zhejiang Academy of Fine Arts, Hangzhou GCX p.82 Song xia zhangren tu ???? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing DXY p.58 GCX p.81 1883 Shoutian mailu tu ? ? ? Hanging scroll; ink and color on paper 238.7 x 119 cm Anhui Provincial Museum, Hefei DXY p.59 GCX p.82 93 Su Wu muyang ?? ??? Hanging scroll; ink and color on paper 148.5 x 83.3 cm China Art Gallery, Beijing DXY color plate 24 Jingpin plate 41 GCX plate 15 Hanmo p.30 You huang duzuo tu xiang ?? ??? Hanging scroll; ink and color on paper N/A Zhejiang Provincial Museum, Hangzhou DXY p.59 Renwu ?? (Inscription: ?? ? ????? ?????) Round fan; ink and color on silk 29 x 27 cm Luxun Academy of Fine Arts, Shenyang GCX p.82 1883 Renwu ?? (Inscription: ?? fi ????? ????? ????) Round fan; ink and color on silk N/A Location unknown GCX p.82 Xizhi ai?e tu ? ?? Hanging scroll; ink and color on paper N/A Location unknown DXY p.62 GCX p.83 1884 San you tu ??? Hanging scroll; ink and color on paper 36.1 x 63.5 cm Palace Museum, Beijing XYN p.8 Zuopin plate 242 GCX plate 16 Bonian p.89 94 Song xia ce zhang tu ??fi? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing DXY p.63 GCX p.82 Shin? ? Hanging scroll; ink and color on paper 130.5 x 40.5 cm Central Academy of Crafts and Fine Arts, Beijing Ren plate 80 Lu Shucheng xiang ?? ?? Hanging scroll; ink and color on paper N/A Zhejiang Provincial Museum, Hangzhou Zuopin plates 175- 176 Tong yin shin? tu ?? ? ? Hanging scroll; ink and color on paper 120.3 x 39.4 cm China Art Gallery, Beijing Jingpin plate 42 Bonian p.87 Renwu?? Round fan; ink and color on silk 28 x 28 cm Guangdong Provincial Museum, Guangzhou GCX p.83 Mi Yuanzhang baishi tu ????? Hanging scroll; ink and color on paper N/A Location unknown DXY p.65 1884 Meihua shin? tu ?? ? ? Hanging scroll; ink and color on paper 96 x 42.6 cm Liaoning Provincial Museum, Shenyang Bonian p.97 95 Yunlin xitong tu ? ?? ? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 173 1884 Xiqiao tingquan tu ? ??? Hanging scroll; ink and color on paper N/A Xiling yinshe ?? ??, Hangzhou DXY p.65 Yuelou xiansheng heyi xiaoxia tu ?? ??? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 223 Mancheng fengyu jinchongyang ????? ? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 222 Kesun tu ? ?? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 224 1885 Guanhe yiwang xiaosuo tu ? ? ? Hanging scroll; ink and color on paper N/A Nanjing Museum, Nanjing Zuopin plate 213 GCX plate 17 Ren plate 81 Jingpin plate 43 96 Zhao Dechang fufu xiang ?? ??? Hanging scroll; ink and color on paper 148 x 80 cm China Art Gallery, Beijing Hanmo p.45 Jingpin plate 44 Zuopin plate 188 Mi Fu baishi tu ??? ? Hanging scroll; ink and color on paper N/A Zhejiang Zhenhai Cultural Center, Zhenhai DXY p.71 L?bei yinshi ?? Handscroll; ink and color on paper N/A Location unknown Zuopin plate 230 Qingliu zhuozu ?? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 229 Wang Chuzhong jihu tu ? ??? Hanging scroll; ink and color on paper N/A Tainyi ge ? , Ningbo Zuopin plate 216 Yingxue dushu tu ? ???? Hanging scroll; ink and color on paper N/A Location unknown DXY p.72 1885 Zhulin duzuo tu ? ? ? Hanging scroll; ink and color on silk 68.5 x 30 cm Suzhou City Museum, Suzhou DXY p.72 GCX p.86 97 Tongyin qingshu tu ? ???? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 215 Guanhe yiwang xiaosuo tu ? ? ? Hanging scroll; ink and color on paper N/A Suzhou Antique Shop, Suzhou DXY p.72 Renwu ?? Round fan; ink and color on silk 26 x 26 cm Guangdong Provincial Museum, Guangzhou GCX p.87 Xi yng tu ? ? Hanging scroll; ink and color on paper N/A Location unknown DXY p.73 Xuezhong songtan tu ? ?? ? Hanging scroll; ink and color on paper 138.5 x 68.5 cm Shanghai Museum, Shanghai DXY p.73 GCX p.86 Guanhe yiwang xiaosuo tu ? ? ? Fodling fan; ink and color on paper N/A Location unknown DXY color plate 14 1885 Xuezhong songtan tu ? ?? ? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing DXY p.73 98 Yan Lu gong xie jing tu ? ????? Hanging scroll; ink and color on paper N/A Location unknown DXY p.74 1885 Shan ju tu ? ?? Hanging scroll; ink and color on paper N/A Zhejiang Provincial Museum, Hangzhou GCX p.86 Xuezhog songtan ?? ? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 246 Yinbian tu ?? Handscroll; ink and color on paper N/A Location unknown Zuopin plate 257 Sanxian tu ??? Hanging scroll; ink and color on paper 249.5 x 118 cm Museum of Art, Tianjin Ren plate 99 Meiqi hezi ? ??? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 244 1886 Dongpo wanyan tu ? ? Hanging scroll; ink and color on paper; ink & color on paper 131 x 45 cm Art Gallery in memory of Xu Beihong, Beijing Ren plate 102 Jingpin plate 59 Zuopin plate 232 99 Renwu ?? Round fan; ink and color on silk 27.7 x 28.7 cm Suzhou City Museum, Suzhou GCX p.90 Su Wu muyang tu ? ???? (Inscription: ?? ?fi ?? ? ????? ?? ??? ?) Hanging scroll; ink and color on paper N/A Location unknown DXY p.77 Song xia mi ju tu ?? ?? Hanging scroll; ink and color on paper 128.3 x 39 cm Luxun Academy of Fine Arts, Shenyang DXY p.77 GCX p.89 Su Wu muyang tu ? ???? Hanging scroll; ink and color on paper N/A Location unknown DXY p.77 Yunshan cema tu ?? ? ? Hanging scroll; ink and color on paper N/A Location unknown DXY p.77 1886 Tingqin tu ? ?? Handscroll; ink and color on paper 77.3 x 142 cm Nantong Museum, Nantong GCX p.88 100 Shensan guanquan tu ??fl?? Hanging scroll; ink and color on paper 175.5 x 46 cm China Art Gallery, Beijing Jingpin plate 61 Chengtian yeyou tu ? ???? Hanging scroll; ink and color on paper 177.5 x 47.4 China Art Gallery, Beijing Jingpin plate 57 Zuopin plate 245 GCX plate 18 Xiaohong dichang wo chuixiao tu ? ? ? ? ( ?) Hanging scroll; ink and color on paper N/A Location unknown DXY p.78 GCX p.88 & p.90 Taoyuan wenjin tu ? ???? Hanging scroll; ink and color on paper 177.5 x 47.4 cm China Art Gallery, Beijing Jingpin plate 58 Zuopin plate 247 Gui tian tu ? Hanging scroll; ink and color on paper N/A Location unknown DXY p.80 1886 Ge lian shin? tu ??? ? Hanging scroll; ink and color on paper N/A Private Collection (Qian Jingtang ? ) DXY p.80 GCX p.90 101 Fengchen sanxia tu ? ???? Hanging scroll; ink and color on paper 46 x 65 cm Museum of Art, Hong Kong Wan Qing plate 2.82 Hanmo E7 Zhong Kui ?? Hanging scroll; ink and color on paper 130 x 65 cm Art Gallery in memory of Xu Beihong, Beijing Ren plate 103 Xuezhong songtan ?? ? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 276 GCX plate 19 Shezhi tu ? ?? Hanging scroll; ink and color on paper N/A Location unknown GCX plate 20 Gao Yongzhi shugai tu xiaoxiang ????? ?? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing Zuopin plate 254 Bonian p.25 1887 Jishi xiansheng guyingzilian tu ?? ???? Hanging scroll; ink and color on paper N/A Location unknown DXY p.84 102 Shuang tong dou xishuai tu ? ? ?? Hanging scroll; ink and color on paper 175.6 x 47 cm China Art Gallery, Beijing Hanmo p.72 Jingpin plate 60 Zuopin plate 255 DXY color plate 1 Hanlin gaoshi tu ?? Hanging scroll; ink and color on paper 177 x 47 cm China Art Gallery, Beijing Jingpin plate 62 Zhong Kui chuxun tu ? ???? Hanging scroll; ink and color on paper N/A Association of Artists, Shanghai DXY p.84 Zongyin naliang tu ? ???? Hanging scroll; ink and color on paper N/A Wu Changshuo?s Home DXY plate 27 Zhong Kui tu ??? Hanging scroll; ink and color on paper 76 x 143 cm Duo Yun Xuan ?? ?, Shanghai Bonian p.101 Liu Hai xiang fl? ? Hanging scroll; ink and color on paper N/A Zhejiang Provincial Museum, Hangzhou Zuopin plate 273 1887 Fengchen sanxia tu ? ???? Hanging scroll; ink and color on paper N/A Location unknown DXY plate 29 103 Qingn? su?e tu ? ? ? Hanging scroll; ink on paper N/A Palace Museum, Beijing DXY p.86 GCX p.90 1887 Yang Xian zhulin xianting tu ?? ? ? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing DXY plate 5 Wuyue piqiu ??? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 296 Yefang ?? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 282 Muyang ? ? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 283 1888 Guangshan zaiwang ??? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 284 GCX plate 24 104 Huaisu shuyan ? ?? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 288 Songxia tingquan ??? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 290 Muniu tu ? ?? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 291 Muniu tu ? ?? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 294 Yuzhou ?? Hanging scroll; ink and color on paper N/A Location unknown GCX plate 23 1888 Hanlin muma ? Hanging scroll; ink and color on paper 130 x 62 cm China Art Gallery, Beijing DXY color plate 5 Jingpin plate 63 105 L?ei yinshi ?? Folding fan; ink and color on paper N/A Location unknown Zuopin plate 279 Yuju canchan ? ?? Folding fan; ink and color on paper N/A Location unknown Zuopin plate 280 DXY color plate 32 Houxi tu ? ?? Hanging scroll; ink and color on paper 93 x 52 cm Private collection (Fan Jia ? ?) GCX plate 22 Hanmo p.31 N? Wa lianshi tu ???? Hanging scroll; ink and color on paper 118 x 66 cm Art Gallery in memory of Xu Beihong, Beijing Ren plate 109 Jingpin plate 65 XYN p.25 Zuopin plate 281 GCX plate 21 1888 Shin? tu ? ? Album (12 leaves) 24 x 38.2 cm Palace Museum, Beijing XYN p.24 106 Xizhi ai?e tu ? ?? Hanging scroll; ink and color on paper 150 x 81.5 cm China Art Gallery, Beijing Jingpin plate 64 Zuopin plate 287 Shuyin guanjian tu ??flcurrency1? Hanging scroll; ink and color on paper 248.5 x 120.6 cm Shanghai Museum, Shanghai GCX plate 25 DXY color plate 8 Zhubi Zhong Kui tu ?? ??? Hanging scroll; ink and color on paper N/A Private Collection (Qian Jingtang ? ) DXY p.91 GCX p.93 Suan hanwei xiang ? ?? Hanging scroll; ink and color on paper 164.2 x 77.6 cm Zhejiang Provincial Museum, Hangzhou DXY color plate 36 XYN p.23 Zuopin plate 292 Hanmo p.50 Bonian p.30 Wanqing plate 2.94 1888 Jiaoyin naliang tu ? ???? Hanging scroll; ink and color on paper 129.5 x 58.9 cm Zhejiang Provincial Museum, Hangzhou XYN p.22 Zuopin plate 428 GCX plate 31 Hanmo p.51 Wanqing plate 2.95 107 Xianshou tu ?? Hanging scroll; ink and color on paper N/A Location unknown DXY p.93 Zhubi Zhong Jinshi xiang ????? ? Hanging scroll; ink and color on paper N/A Zhejiang Provincial Museum, Hangzhou GCX p.93 Cen Tongshi xiaoxiang ? ???? Hanging scroll; ink and color on paper N/A Private Collection (Cheng Shifa ?? ?) DXY p.93 GCX p.93 1888 Renwu xiaopin ?? ? Album (4 leaves); ink and color on paper N/A Palace Museum, Beijing Hanmo E17-E23 Ziqi donglai ?? Hanging scroll; ink and color on paper 134 x 65 cm China Art Gallery, Beijing Jingpin plate 68 Zuopin plate 299 Gutu nanwang ??? Hanging scroll; ink and color on paper N/A Location unknown Zuiopin plate 300 GCX plate 28 1889 Shidai shuxiang ? ??? Hanging scroll; ink and color on paper 182 x 92 cm Art Gallery in memeory of Xu Beihong, Beijing Ren plate 114 108 Xiaohong dichang wo chuixiao tu ? ? ? ? Hanging scroll; ink and color on paper N/A Location unknown DXY p.96 Zhong Kui xingyin tu ? ?? ? Hanging scroll; ink and color on paper N/A Location unknown DXY p.96 Magu xianshou tu ? ?? Hanging scroll; ink and color on paper 149.5 x 80.5 cm China Art Gallery, Beijing Jingpin plate 66 Zuopin plate 301 Li Guang sheshi(hu) ? ???(?) Hanging scroll; ink and color on paper 149 x 81.5 cm China Art Gallery, Beijing Zuopin p.303 Jingpin pl.67 GCX plate 26 Su Wu muyang tu ? ???? Hanging scroll; ink and color on paper 183.2 x 47 cm Palace Museum, Beijing Ren plate 112 Bonian p.105 Wu xiangwei tu ???? Hanging scroll; ink and color on paper 120.2 x 56.1 cm China Art Gallery, Beijing Jingpin plate 69 Zuopin plate 421 1889 Xiting qiu?ai ? ?? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing Jingpin plate 70 109 Songxia cezhang tu ??fi? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing DXY p.97 GCX p.95 Mutong tu ? ? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 306 Yufu tu ?? ? Hanging scroll; ink and color on paper N/A Location unknown DXY p.97 Renwu ?? Album (8 leaves); ink and color on paper N/A Library, Zhejiang Academy of Fine Arts, Hangzhou GCX p.96 Xizhi ai?e tu ? ?? Hanging scroll; ink and color on paper 136.2 x 67 cm Palace Museum, Beijing Ren plate 117 Jingpin plate 71 Zuopin plate.8 Bonian p.113 1890 Zhongqiu shangyue tu ????? Hanging scroll; ink and color on paper 93.3 x 41.7 cm China Art Gallery, Beijing DXY p.98 GCX p.97 110 Meihua an ??? Hanging scroll; ink and color on paper 174 x 46.5 cm Art Gallery in memeory of Xu Beihong, Beijing Ren plate 129 Jiaoyin yaji ???? Hanging scroll; ink and color on paper 147 x 54 cm Changzhou Antique Shop, Changzhou Ren plate 143 Zhong Kui ?? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 322 Tianguan tu ? ? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 324 Renwu hengpi ?? ?? Handscroll; ink and color on paper N/A Location unknown Zuopin plate 326 Qiul? fangmu ?? ?? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 336 1891 Liutang shuangzhou ? ?? Hanging scroll; ink and color on paper N/A Location unknown Zuopin plate 337 111 Muren jiniu ?? ? Hanging scroll; ink and color on paper 177 x 47 cm Art Gallery in memeory of Xu Beihong, Beijing Ren plate 125 Dongshan sizhu ?? ? Hanging scroll; ink and color on paper 183 x 96 cm China Art Gallery, Beijing Jingpin plate 78 XYN p.29 DXY color plate 34 Zhong Kui ?? Hanging scroll; ink and color on paper 132 x 66 cm China Art Gallery, Beijing Jingpin plate 80 DXY color plate 17 Touhu tu ? ?? Hanging scroll; ink and color on paper 179 x 95 cm China Art Gallery, Beijing Jingpin plate 81 Songxia gaoshi ? ? Hanging scroll; ink and color on paper 117 x 47 cm Art Gallery in memeory of Xu Beihong, Beijing Ren plate 126 Liuxi yingchun ? ?? Hanging scroll; ink and color on paper 175 x 48.5 cm Art Gallery in memeory of Xu Beihong, Beijing Ren plate 128 Jingpin plate 75 1891 Xu You xi?er tu ???? ? Hanging scroll; ink and color on paper N/A Locaiton unknown GCX plate 29 112 Renwu ?? Screen (4 Hanging scrolls); ink and color on gold foil 208 x 43 cm Central Academy of Fine Arts, Beijing Ren plate 138 Su er xiaoxiang tu (Wu Dongmai xiaoxiang) ????? (? ?? ?) Hanging scroll; ink and color on paper N/A Location unknown DXY p.101 Mobi poshan Zhong Kui tu ???? ?? Hanging scroll; ink and color on paper N/A Shanghai Museum, Shanghai DXY plate 48 Magu xianshou tu ? ?? Hanging scroll; ink and color on gold foil N/A Palace Museum, Beijing Bonian p.24 L? bei xun shi tu ??? ? Hanging scroll; ink and color on paper 94 x 42.3 cm China Art Gallery, Beijing Jingpin plae 79 Zuopin plate 340 1891 Yao Xiaofu wushisi sui xiaoyng tu ? ????' ???? Hanging scroll; ink and color on paper N/A Private Collection (Qian Jingtang ? ) DXY plate 30 113 Qiulin chuidiao ? ?? Hanging scroll; ink and color on paper 40.5 x 44.6 cm Palace Museum, Beijing Ren plate 146 Nongzhang tu ? Hanging scroll; ink and color on paper 107 x 42.8 cm Museum of Art, Tianjin Ren plate 148 Wuyue piqiu ??? Hanging scroll; ink and color on paper 161.5 x 45 cm Central Academy of Crafts and Fine Arts Ren plate 152 Jiangpan fangya ? ? Hanging scroll; ink and color on paper 67.5 x 41.5 cm China Art Gallery, Beijing Jingpin plate 82 Ting song tu ? ? Hanging scroll; ink and color on paper 133.2 x 64.8 cm Palace Museum, Beijing Ren plate 145 Bonian p.121 Mi Fu baishi tu ??? ? Hanging scroll; ink and color on paper 168 x 45 cm High School, affliated to Central Academy of Fine Arts, Beijing. DXY p.104 GCX p.100 1892 Dongpo qin cao tu ? ? ? Hanging scroll; ink and color on paper N/A Location unknown DXY p.104 GCX p.100 114 Zhulin yaji tu ? ??? Hanging scroll; ink and color on paper N/A Private Collection (Qian Jingtang ? ) DXY p.104 Renwu ?? Screen (4 Hanging scrolls); ink and color on paper N/A Shanghai Museum, Shanghai DXY p.104 Liu an naliang tu ? ??? Hanging scroll; ink and color on paper; ink and color on paper N/A Palace Museum, Beijing DXY plate 4 Cai lian shin? ? Hanging scroll; ink and color on paper; ink and color on paper 138.5 x 40 cm China Art Gallery, Beijing Jingpin plate 77 1892 Huansha tu ?? Hanging scroll; ink and color on paper 130 x 40 cm Guangdong Provincial Museum, Guangzhou DXY p.106 GCX p.101 1893 Zhong Kui tu ??? Hanging scroll; ink and color on paper 167.5 x 82.8 cm Liaoning Provincial Museum, Shenyang Bonian p.123 115 Zhubi Zhong Kui tu ?? ??? Hanging scroll; ink and color on paper 124 x 42 cm Guangdong Provincial Museum, Guangzhou DXY p.107 GCX p.102 Guitian fengqu tu ? ? Hanging scroll; ink and color on paper N/A China Art Gallery, Beijing DXY p.107 GCX p.102 1893 Guo Ziyi daizi ruchao tu ? ? ? ?? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing DXY p.107 GCX p.101 Magu shouxing tu ? ??? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing DXY p.109 GCX p.102 Songxia wenxiao tu ?? ? Hanging scroll; ink and color on paper 105 x 54.8 cm China Art Gallery, Beijng XYN p.29 Zuopin p.360 1894 Qiusheng fu tu ???? Hanging scroll; ink and color on paper 134.5 x 53.9 cm Palace Museum, Beijing Jingpin plate 83 1895 Su Wu muyang ?? ?? Hanging scroll; ink and color on paper N/A Palace Museum, Beijing GCX p.102 116 Lushou tu ?? Hanging scroll; ink and color on paper N/A Location unknown GCX p.102 1895 Shin? tu ? ? Hanging scroll; ink and color on paper 107 x 48 cm Zhenjiang City Museum, Zhenjiang GCX p.102 117 SELECT BIBLIOGRAPHY Cahill, James. The Painter?s Practice: How Artists Lived and Worked in Traditional China. New York: Columbia University Press, 1994. ?????. ?The Shanghai School in Later Chinese Painting.? in Twentieth-Century Chinese Painting, edited by Mayching Kao, 54-77. Hong Kong; Oxford: Oxford University Press, 1988. ?????. ?Ren Xiong and His Self-Portrait.? Ars Orientalis, no.25 (1995): 119- 132. Chinese Paintings from the Shanghai Museum: 1851-1911.Edinburgh: NMS Publishing Ltd., 2000. Chou, Ju-hsi, ed. Art at the Close of China?s Empire. Phoenix: Phoebus, 1998. ?????, and Brown, Claudia, ed. Chinese Painting under the Qianlong Emperor:the Symposium Papers. [Tempe, Ariz.] : Arizona State University, 1988. ?????, and ?????, ed. Transcending Turmoil: Painting at the Close of China?s Empire 1796-1911. Phoenix Art Museum, 1992. Chung, Anita. ?Reinterpreting the Shanghai School of Painting.? in Chinese Paintings from the Shanghai Museum: 1851-1911, 25-46. Edinburgh: NMS Publishing Ltd., 2000. Ding, Xiyuan ?. Ren Bonian ???. Shanghai: Shanghai shuhua chubanshe, 1989. ?????. ?Ren Bonian?s Figure Painting.? Hanmo ? , vol. 28 Ren Bonian ren wu hua te ji ????????(Spring 1992): E8-E31. ?????. Ren Bonian: nianpu, lunwen, zhen cun, and zuopin ????? ? ?? ? (Ren Bonian: Chronology, Theses, Artifacts and Works). Shanghai: Shanghai shuhua chubanshe, 1989. Erickson, Britta Lee. ?Patronage and Production in the Nineteenth-Century Shanghai Region: Ren Xiong (1823-1857) and His Sponsors.? Ph.D. diss., Stanford University, 1997. Fan, Qing ??. ?Shangpin jingji yu haipai: jianlun ?yangzhou baguai? ? ? ? ??? ??????(Commercialism and Shanghai Painting as well as Eight 118 Eccentrics of Yangzhou).? Yishu tansuo (meishuban) ??? (?? ), no.2 (1995): 30-43. Gao, Tianmin ? . ?Haipai ji qi xiandaixing de panduan ?? ????? (Shanghai painting and judgment of the modernity).? in Shanghai huapai yanjiu wenji ???? ?? (Studies on the Shanghai School of Painting), 637-670. Shanghai: Shanghai shuhua chubanshe, 2001. Ge Yuanxu ???. Huyou zaji?? ?(Notes on Traveling in Shanghai ). Preface dated 1876. Reprint. Shanghai: Shanghai guji chubanshe, 1989. Giacalone, Vita, ed. The Eccentric Painters of Yangzhou. New York: China House Gallery; China Institute in America, 1990. Gong, Chanxing ?, ed. Ren Bonian yanjiu ??? (Studies of Ren Bonian). Tianjin: Tianjin renmin meishu chubanshe, 1982. . ?Ren Bonian de huihua yishu ???????? (Art of Ren Bonian).? Meishu shilun ??? , no.1 (1981): 87-105. Hay, Jonathan. ?Painting and Built Environment in Late-Nineteenth-Century Shanghai?, in Chinese Art: Modern Expressions, edited by Maxwell K. Hearn and Judith G. Smith, 60-101. New York: The Metropolitan Museum of Art, 2001. Hearn, Maxwell K. ?Art in Late-Nineteenth Century Shanghai.? The Metropolitan Museum of Art Bulletin, vol. 58 no. 3 (winter 2001): 10-13. Hs?, Ginger Cheng-chi. A Bushel pf Pearls: Paintings for Sale in Eighteenth-Century Yangzhou. Stanford: Stanford University Press, 2001. ?????. ?Zheng Xie?s Price List: Painting as a Source of Income in Yangzhou.? in Chinese Painting under the Qianlong Emperor: The Symposium Papers, edited by Ju-hsi Chou and Claudia Brown, 261-271. [Tempe, Ariz.] : Arizona State University, 1988. Hu, Haichao ?? . ??Shanghai huapai? gaishuo ?????? ? (Generalization on Shanghai Painting).? Duoyun, no.1 (1985): 186-194. Lee, Stella Yu. ?The Figure Painting of Jen Po-Nien (1840-1896): The Emergence of a Popular Style in Late Chinese Painting.? Ph.D. diss., University of California, Berkeley, 1981. ?????. ?Art Patronage of Shanghai in the Nineteenth Century.? in Artists and Patrons: Some Social and Economic Aspects of Chinese Painting, edited by Chu- tsing Li, 223-231. Seattle: University of Washington Press, 1989. 119 ?????. Ren Bonian: qingmo de shimin huajia ???????? ? (Ren Bonian: The People?s Painter during the Late Qing Dynasty). Taipei: xiongshi tushu gongsi, 1985. Li, Chu-tsing ???, and Wan, Ching-li ???. Zhongguo xiandai huihua shi: Wan Qing zhibu, 1840 zhi 1911?????????????1840?1911 (History of Modern Chinese Painting: Paintings in the Late Qing Period, 1840-1911). Taipei: Rock Publishing International, 1997. ?????, ed. Artists and Patrons: Some Social and Economic Aspects of Chinese Painting. Seattle: University of Washington Press, 1989. ?????. ?Looking at Late Qing Painting with New Eyes.? in Art at the Close of China?s Empire, edited by Ju-hsi Chou, 18-37. Phoenix: Phoebus, 1998. ?????. ?Eighteenth-Century Foundations in Modern Chinese Painting.? in Chinese Painting under the Qianlong Emperor: The Symposium Papers, edited by Ju- hsi Chou and Claudia Brown, 317-326. [Tempe, Ariz.] : Arizona State University, 1988. Meyden, Hans van der. ?The Life and Works of Ren Bonian: An Attempt to Strip the Artist?s Biography of Some Apocryphal Fabrications.? Oriental Art, no. 38 (Spring 1992): 27-40. Qiu, Mengyu . ?Jindai chengshi wenhua lanshang yu ren Bonian de huihua ? ????? ??????? (The Beginning of the Urban Culture and Ren Bonian?s Painting).? in Shanghai huapai yanjiu wenji ???? ?? (Studies on the Shanghai School of Painting), 504-515. Shanghai: Shanghai shuhua chubanshe, 2001. Ren Bonian jingpin ji???? ? (Collection of Ren Bonian?s Masterpieces). Beijing: Renmin chubanshe, 1993. Soong, James Han-hsi. ?A Visual Experience in Nineteenth-Century China: Jen Po- nien (1840-1895) and the Shanghai School of Painting.? Ph.D. diss., Stanford University, 1977. Ren, Daobin ?? . ?Ru hu qian Ren Bonian huo dong jian lun ? ??? ? (Brief Discussions on Ren Bonian?s Activities before He Moved to Shanghai).? in Shanghai huapai yanjiu wenji ???? ?? (Studies on the Shanghai School of Painting), 219-228. Shanghai: Shanghai shuhua chubanshe, 2001. Shan, Guolin ???. Yangzhou hua pai yan jiu wen ji: "Yangzhou hua pai shu hua quan ji" xu lun hui bian ???? ????????????? ? 120 (Studies on Yangzhou Painting: Prefaces to Collection of Artworks by Yangzhou Painters). Tianjin: Tianjin renmin meishu chubanshe, 1999. ?????. ?Haipai huihua de shangyehua tezheng ????????? (Characteristics of Commercialism in the Shanghai School of Painting).? in Shanghai huapai yanjiu wenji ???? ?? (Studies on the Shanghai School of Painting), 559-573. Shanghai: Shanghai shuhua chubanshe, 2001. ?????. ?The Cultural Significance of the Shanghai School.? in Chinese Paintings from the Shanghai Museum: 1851-1911, 9-24. Edinburgh: NMS Publishing Ltd., 2000. Shan, Guoqiang ?? . Ren Bonian ???. Taipei: Taiwan Mac Educational Co. Ltd., 1995. ?????. ?Shi xi ?haipai? hanyi ???? (Tentative Definition of the Term ?Haipai?).? Gugong bowuyuan yuankan ???? 80 (1998):43-50. Shen, Kuiyi. ?Wu Changshi and the Shanghai Art World in the Late Nineteenth and Early Twentieth Centuries.? Ph.D. diss., Ohio State University, 2000. Vinograd, Richard. Boundaries of the Self: Chinese Portraits, 1600-1900. Cambridge: Cambridge University Press, 1992. . ?Satire and Situation: Images of the Artist in Late Nineteenth- Century China.? in Art at the Close of China?s Empire, edited by Ju-hsi Chou, 110- 133. Phoenix: Phoebus, 1998. Wang, Jingxian ??. Ren Bonian zuo pin ji ??? ?(Collection of Ren Bonian?s Artworks). Beijing: Renmin meishu chuban she, 1992. Wang Tao . Yingruan zazhi (A Collection of Jottings on Miscellaneous Subjects Relating to Shanghai). Preface dated 1853, reprint 1875. Reprint. Shanghai: Shanghai guji chubanshe, 1989. Wue, Roberta May-Hwa. ?Making the Artist: Ren Bonian (1840-1895) and Portraits of the Shanghai Art World.? Ph.D. diss., New York University, 2001. Xiong, Yuezhi ???, and Zhang, Min ?. Shanghai tongshi ???? (History of Shanghai). Shanghai: Shanghai renmin chubanshe, 1999. Xu, Hong ?. ?Haipai yishu de wenhua huanjing ????????? (Cultural circumstances of Shanghai painting).? in Shanghai huapai yanjiu wenji ???? ?? (Studies on the Shanghai School of Painting), 693-709. Shanghai: Shanghai shuhua chubanshe, 2001. 121 Xue, Yongnian??? . ?Yangzhou hua pai yu haipai de hui hua yi shu ????? ??????? (the Art of Yangzhou Painters and Shanghai Painters).? In Zhong guo mei shu quan ji?wan qing juan ?????????? (Collections of Chinese artworks: Late Qing dynasty), 1-19. Beijing: renmin meishu chubanshe, 1980. ?????. Ren Bonian ???. Beijing : Wenwu chubanshe, 1998. ?????. ?Haipai dui yangzhou baguai de fazhan yu zhongguohua ?? ??? ???? ??? (Development of Shanghai Painting from Eight Eccentrics of Yangzhou and Chinese Painting).? in Shanghai huapai yanjiu wenji ???? ? ? (Studies on the Shanghai School of Painting), 854-867. Shanghai: Shanghai shuhua chubanshe, 2001. ?????, and Xue, Feng??. Yangzhou ba guai yu Yangzhou shang ye ??? ?????? (Eight Eccentrics of Yangzhou and Commerce in Yangzhou). Beijing: Renmin meishu chubanshe, 1992. Zhang, Liguo ?currency1?. ?Ren Bonian yu haishang yishu shichang ???????? ?' (Ren Bonian and the Art Market in Shanghai).? In Shanghai huapai yanjiu wenji ???? ?? (Studies on the Shanghai School of Painting), 711-727. Shanghai: Shanghai shuhua chubanshe, 2001. Zhang, Mingke . Hansongge tanyi suolu ? (Records of the Comments on Art in Hansongge). Preface 1919. Reprint. Shanghai: Shanghai renmin meishu chubanshe, 1988. Yang Yi . Hai Shang Mo Lin ?? (A Collection of Biographical Notes on Shanghai Artists). Preface dated 1919. Reprint. Shanghai: Shanghai guji chubanshe, 1989. Yu, Jianhua ?currency1 . Zhongguo huihua shi ???? ? (History of Chinese Painting). Shanghai: Shanghai shudian chubanshe, 1984. Zhongguo jinxiandai mingjia huaji: Ren Bonian ????? ??: ??? (Collection of Masterworks of Modern and Contemporary Chinese Painters: Ren Bonian). Tianjin: Tianjin People?s Fine Arts Publishing House, 1996.