Nymph of the Luo River 洛神圖
Item
Title
Nymph of the Luo River 洛神圖
Description
(none)
Source
https://asia.si.edu/object/F1914.53
Creator
Gu Kaizhi (attributed to) (傳) 顧愷之
annotates
Outside label slip: Duanfang 端方 (1861–1911)
Six characters, running script; plus seven characters, smaller running script 顧虎頭《洛
神圖》。希世之珍，匋齋題。
The Nymph of the Luo River, by Gu Hutou [Gu Kaizhi]. A rare treasure of the world; written by
Taozhai [Duanfang].
Front mounting silk: Yellow silk brocade with phoenix-and-cloud motif. With signed inside
label. Two (2) collector seals.
Dimensions: 24.0 x 11.1 cm
Inside label slip: Liang Qingbiao 梁清標 (1620–1691)
Ten characters, standard script.
顧愷之《洛神圖》。蕉林珍玩。
The Nymph of the Luo River, by Gu Kaizhi. Treasured and enjoyed by Jiaolin [Liang Qingbiao].
Painting: One continuous piece of silk. No artist signature or seals.
Back mounting silk: Yellow silk brocade with phoenix-and-cloud motif. Four (4) collector seals.
Dimensions: 24.0 x 11.1 cm
Colophons: (8) – Two colophon papers.
Sheet 1: separately mounted, with one colophon
Dimensions: 24.1 x 61.2 cm
1. Dong Qichang 董其昌 (1555–1636)
8 columns, running script.
内府所藏，大都無前人題跋，蓋進御時剪去，恐有國諱或不盡作莊語故耳。此朱成國時，
尚方給以代官俸者。卷首有『顧愷之《洛神圖》』標目，展轉至予手失之；乃李伯師家藏
，『洗玉池』、『隴西』圖款可辨也。顧長康畫，海內惟此卷與項氏《女史箴》，真名畫
之天球、赤刀也。董其昌題。
The reason most paintings in the [Ming] imperial collection have no inscriptions or colophons by
earlier writers is that they were cut off when [the scrolls] became imperial property for fear they
might contain taboo words or expressions that were not altogether respectful. During the time of
Zhu Chengguo [1516–1572], this painting was given by the commissariat in lieu of official
salary.3 The title at the beginning of the scroll [reading], “Nymph of the Luo River, by Gu
Kaizhi,” had been lost by the time [the painting] passed into my hands; however, the seals Xiyuchi
and Longxi from the personal collection of Li Boshi [Li Gonglin] can [still] be distinguished.4 Of
all the paintings by Gu Changkang [Gu Kaizhi] within the four seas, only this scroll and the
Admonitions of the Instructress in the collection of Mister Xiang [Yuanbian, 1525– 1590]5
are
truly precious relics of famous painting.6
Inscribed by Dong Qichang.
Signature: 董其昌
Dong Qichang
Date: none
Seals: none
Sheet 2: continuously mounted with two unused sections of paper; one colophon and six s
Dimensions: 24.1 x 129.9 cm
2. Yang Shoujing 楊守敬 (1839–1915)
10 columns, running script.
此卷畫之高名，不待贊嘆；顧無唐宋人題識，香光所鑒自不誣。然余考張懷瓘《畫斷》所
載虎頭畫約三十通，無《洛神圖》；裴孝源《貞觀公私畫史》所載十七卷，亦無之；《宣
和畫譜》所載九卷有《女史箴》亦無此圖。然则香光所指内府，並唐宋而言之，而《貞觀
畫史》卻有晉明帝《洛神賦圖》，豈本為晉明帝而或傳為虎頭耶。卷首有梁蕉林題籤，亦
指為愷之，後人固無庸異議矣。光緒丁未三月，宜都楊守敬。
The great fame of this handscroll painting does not attend my commendation, and of course
Xiangguang [Dong Qichang] was not mistaken in his expert opinion as to why there are no Tang
or Song dynasty inscriptions [on the scroll]. However, according to my research, the Nymph of
the Luo River does not appear among the thirty paintings by Hutou [Gu Kaizhi] recorded in
Zhang Huaiguan‟s Judgements on Paintings [early to mid-8th century]. Neither is it among the
seventeen paintings [by Gu] recorded in Pei Xiaoyuan‟s Records of Paintings in Public and
Private Collections during the Zhenguan Reign Period [preface 639], nor is the painting among
the nine scrolls [by Gu] recorded in the Imperial Catalogue of the Xuanhe Era [preface 1120],
which includes his [painting] Admonitions of the Instructress. Nevertheless, when Xiangguang
referred to imperial collections he was surely speaking about those of the Tang and Song dynasties, and since the Records of Paintings during the Zhenguan Reign Period does record a
painting called Painting of the ‘Rhapsody on the Nymph of the Luo River’ by Emperor Ming of
the Jin dynasty [reigned 323–25], could it not be that this painting was originally by Emperor
Ming, but somehow [erroneously] transmitted as having been done by Hutou?7 At the beginning
of the scroll, a label slip by Liang Jiaolin [Liang Qingbiao] also attributes the painting to [Gu]
Kaizhi, so later people most assuredly would have seen no need to express a different opinion.
Third lunar month in the dingwei year of the Guangxu reign period [April 13–May 11, 1907],
Yang Shoujing from Yidu.
Signature: 楊守敬
Yang Shoujing
Date: 光緒丁未三月
Third month of the dingwei year in the Guangxu reign period [April
13– May 11, 1907]
Seals: (2)
Yang Shoujing yin『楊守敬印』(square intaglio)
Linsu laoren『鄰蘇老人』(square relief)
3. Li Baoxun 李葆恂 (1859–1915)
1 column, running-standard script.
光緒三十又三年十一月十二日，義州李葆恂觀。
Viewed by Li Baoxun from Yizhou on the twelfth day of the eleventh month in the thirty-third
year of the Guangxu reign period [December 16, 1907].
Signature: 李葆恂
Li Baoxun
Date: 光緒三十又三年十一月十二日
Twelfth day of the eleventh month in the thirty-third year of the Guangxu
reign period [December 16, 1907]
Seals: none
4. Inukai Tsuyoshi 犬養毅 (1855–1932)
2 columns, running script.
明治戊申正月拜觀，日本備中犬養毅。
Respectfully viewed by Inukai Tsuyoshi from Bitchū, Japan, first month of the boshin year in the
Meiji reign period [February 2–March 2, 1908].
Signature: 備中犬養毅
Inukai Tsuyoshi
Date: 明治戊申正月
First month of the boshin year in the Meiji reign period [February 2–
March 2, 1908]
Seals: none
5a. Nonomura Kinsaku 野野村金作 (late 19th–early 20th century)
2 columns; running script.
明治四十三年將暮時，野野村金作拜觀。
At the close of the forty-third year in the Meiji reign period [late 1910], respectfully viewed by
Nonomura Kinsaku.
Signature: 野野村金作
Nonomura Kinsaku
Date: 明治四十三年將暮時
At the close of the forty-third year in the Meiji reign period [late 1910]
Seals: none
5b. Odagiri Masunosuke 小田切萬壽之助 (1868–1934)
1 column, standard script.
小田切萬壽之助敬觀。
Reverently viewed by Odagiri Masunosuke.
Signature: 小田切萬壽之助
Odagiri Masunosuke
Seals: none
5c. Jissoji Sadahiko 實相寺貞彥 (late 19th–early 20th century)
1 column, running-standard script.
實相寺貞彥同觀。
Viewed at the same time by Jissoji Sadahiko.
Signature: 實相寺貞彥
Jissoji Sadahiko
Seals: none
6. Huang Yilin 黃以霖 (1856–1932)
1 column, standard script.
宣統二年二月，宿遷黃以霖觀。
Second lunar month of the second year in the Xuantong reign period [March 11–April 9, 1910],
viewed by Huang Yilin from Suqian [Jiangsu Province].
Signature: 黃以霖
Huang Yilin
Date: 宣統二年二月
Second lunar month of the second year in the Xuantong reign period
[March 11–April 9, 1910]
Seals: none
Six characters, running script; plus seven characters, smaller running script 顧虎頭《洛
神圖》。希世之珍，匋齋題。
The Nymph of the Luo River, by Gu Hutou [Gu Kaizhi]. A rare treasure of the world; written by
Taozhai [Duanfang].
Front mounting silk: Yellow silk brocade with phoenix-and-cloud motif. With signed inside
label. Two (2) collector seals.
Dimensions: 24.0 x 11.1 cm
Inside label slip: Liang Qingbiao 梁清標 (1620–1691)
Ten characters, standard script.
顧愷之《洛神圖》。蕉林珍玩。
The Nymph of the Luo River, by Gu Kaizhi. Treasured and enjoyed by Jiaolin [Liang Qingbiao].
Painting: One continuous piece of silk. No artist signature or seals.
Back mounting silk: Yellow silk brocade with phoenix-and-cloud motif. Four (4) collector seals.
Dimensions: 24.0 x 11.1 cm
Colophons: (8) – Two colophon papers.
Sheet 1: separately mounted, with one colophon
Dimensions: 24.1 x 61.2 cm
1. Dong Qichang 董其昌 (1555–1636)
8 columns, running script.
内府所藏，大都無前人題跋，蓋進御時剪去，恐有國諱或不盡作莊語故耳。此朱成國時，
尚方給以代官俸者。卷首有『顧愷之《洛神圖》』標目，展轉至予手失之；乃李伯師家藏
，『洗玉池』、『隴西』圖款可辨也。顧長康畫，海內惟此卷與項氏《女史箴》，真名畫
之天球、赤刀也。董其昌題。
The reason most paintings in the [Ming] imperial collection have no inscriptions or colophons by
earlier writers is that they were cut off when [the scrolls] became imperial property for fear they
might contain taboo words or expressions that were not altogether respectful. During the time of
Zhu Chengguo [1516–1572], this painting was given by the commissariat in lieu of official
salary.3 The title at the beginning of the scroll [reading], “Nymph of the Luo River, by Gu
Kaizhi,” had been lost by the time [the painting] passed into my hands; however, the seals Xiyuchi
and Longxi from the personal collection of Li Boshi [Li Gonglin] can [still] be distinguished.4 Of
all the paintings by Gu Changkang [Gu Kaizhi] within the four seas, only this scroll and the
Admonitions of the Instructress in the collection of Mister Xiang [Yuanbian, 1525– 1590]5
are
truly precious relics of famous painting.6
Inscribed by Dong Qichang.
Signature: 董其昌
Dong Qichang
Date: none
Seals: none
Sheet 2: continuously mounted with two unused sections of paper; one colophon and six s
Dimensions: 24.1 x 129.9 cm
2. Yang Shoujing 楊守敬 (1839–1915)
10 columns, running script.
此卷畫之高名，不待贊嘆；顧無唐宋人題識，香光所鑒自不誣。然余考張懷瓘《畫斷》所
載虎頭畫約三十通，無《洛神圖》；裴孝源《貞觀公私畫史》所載十七卷，亦無之；《宣
和畫譜》所載九卷有《女史箴》亦無此圖。然则香光所指内府，並唐宋而言之，而《貞觀
畫史》卻有晉明帝《洛神賦圖》，豈本為晉明帝而或傳為虎頭耶。卷首有梁蕉林題籤，亦
指為愷之，後人固無庸異議矣。光緒丁未三月，宜都楊守敬。
The great fame of this handscroll painting does not attend my commendation, and of course
Xiangguang [Dong Qichang] was not mistaken in his expert opinion as to why there are no Tang
or Song dynasty inscriptions [on the scroll]. However, according to my research, the Nymph of
the Luo River does not appear among the thirty paintings by Hutou [Gu Kaizhi] recorded in
Zhang Huaiguan‟s Judgements on Paintings [early to mid-8th century]. Neither is it among the
seventeen paintings [by Gu] recorded in Pei Xiaoyuan‟s Records of Paintings in Public and
Private Collections during the Zhenguan Reign Period [preface 639], nor is the painting among
the nine scrolls [by Gu] recorded in the Imperial Catalogue of the Xuanhe Era [preface 1120],
which includes his [painting] Admonitions of the Instructress. Nevertheless, when Xiangguang
referred to imperial collections he was surely speaking about those of the Tang and Song dynasties, and since the Records of Paintings during the Zhenguan Reign Period does record a
painting called Painting of the ‘Rhapsody on the Nymph of the Luo River’ by Emperor Ming of
the Jin dynasty [reigned 323–25], could it not be that this painting was originally by Emperor
Ming, but somehow [erroneously] transmitted as having been done by Hutou?7 At the beginning
of the scroll, a label slip by Liang Jiaolin [Liang Qingbiao] also attributes the painting to [Gu]
Kaizhi, so later people most assuredly would have seen no need to express a different opinion.
Third lunar month in the dingwei year of the Guangxu reign period [April 13–May 11, 1907],
Yang Shoujing from Yidu.
Signature: 楊守敬
Yang Shoujing
Date: 光緒丁未三月
Third month of the dingwei year in the Guangxu reign period [April
13– May 11, 1907]
Seals: (2)
Yang Shoujing yin『楊守敬印』(square intaglio)
Linsu laoren『鄰蘇老人』(square relief)
3. Li Baoxun 李葆恂 (1859–1915)
1 column, running-standard script.
光緒三十又三年十一月十二日，義州李葆恂觀。
Viewed by Li Baoxun from Yizhou on the twelfth day of the eleventh month in the thirty-third
year of the Guangxu reign period [December 16, 1907].
Signature: 李葆恂
Li Baoxun
Date: 光緒三十又三年十一月十二日
Twelfth day of the eleventh month in the thirty-third year of the Guangxu
reign period [December 16, 1907]
Seals: none
4. Inukai Tsuyoshi 犬養毅 (1855–1932)
2 columns, running script.
明治戊申正月拜觀，日本備中犬養毅。
Respectfully viewed by Inukai Tsuyoshi from Bitchū, Japan, first month of the boshin year in the
Meiji reign period [February 2–March 2, 1908].
Signature: 備中犬養毅
Inukai Tsuyoshi
Date: 明治戊申正月
First month of the boshin year in the Meiji reign period [February 2–
March 2, 1908]
Seals: none
5a. Nonomura Kinsaku 野野村金作 (late 19th–early 20th century)
2 columns; running script.
明治四十三年將暮時，野野村金作拜觀。
At the close of the forty-third year in the Meiji reign period [late 1910], respectfully viewed by
Nonomura Kinsaku.
Signature: 野野村金作
Nonomura Kinsaku
Date: 明治四十三年將暮時
At the close of the forty-third year in the Meiji reign period [late 1910]
Seals: none
5b. Odagiri Masunosuke 小田切萬壽之助 (1868–1934)
1 column, standard script.
小田切萬壽之助敬觀。
Reverently viewed by Odagiri Masunosuke.
Signature: 小田切萬壽之助
Odagiri Masunosuke
Seals: none
5c. Jissoji Sadahiko 實相寺貞彥 (late 19th–early 20th century)
1 column, running-standard script.
實相寺貞彥同觀。
Viewed at the same time by Jissoji Sadahiko.
Signature: 實相寺貞彥
Jissoji Sadahiko
Seals: none
6. Huang Yilin 黃以霖 (1856–1932)
1 column, standard script.
宣統二年二月，宿遷黃以霖觀。
Second lunar month of the second year in the Xuantong reign period [March 11–April 9, 1910],
viewed by Huang Yilin from Suqian [Jiangsu Province].
Signature: 黃以霖
Huang Yilin
Date: 宣統二年二月
Second lunar month of the second year in the Xuantong reign period
[March 11–April 9, 1910]
Seals: none
Abstract
19 Total
1. Early half seals and damaged seals – (7)
Attributed to Li Gonglin 李公麟 (ca. 1049–1106) – (2) – fake or not his
Longxi ji『隴西記』(gourd-shape relief; right half)8 – painting, left edge Xiyuchi『洗玉
池』 9
(square relief; right half) – painting, left edge
Zhao Ji, Emperor Huizong of the Song dynasty 宋徽宗趙佶 (1082–1135; reigned 1101–1125)
– (1) – fake
Double-dragon design 10 (circle relief; left half) – painting, right edge
Undeciphered early seals (partial or damaged) – (4)
One damaged seal (illegible) – painting, lower right
One half-seal, right half (illegible) – painting, left edge
One half-seal, right half (illegible) – painting, lower left
One half-seal, right half (illegible) – painting, lower left
2. Geng Jixun 耿繼訓 (mid-17th century) – (7)
Chang yi zisun『長宜子孫』(square intaglio) – painting, left – (1/2)
Zongjia zhonggui『宗家重貴』(square intaglio) – painting, left – (1/2)
Yunjian cishi Geng Jixun yin『雲間刺史耿繼訓印』(square relief) – painting, left – (1/3)
Yunjian cishi Geng Jixun yin『雲間刺史耿繼訓印』(square relief) – back mounting
silk/colophon 1 join, bottom – (2/3)
Chang yi zisun『長宜子孫』(square intaglio) – colophon 1, left – (2/2)
Zongjia zhonggui『宗家重貴』(square intaglio) – colophon 1, left – (2/2)
Yunjian cishi Geng Jixun yin『雲間刺史耿繼訓印』(square relief) – colophon 1, left – (3/3)
3. Liang Qingbiao 梁清標 (1620–1691) – (4)
Jiaolin Yuli shi tushu『蕉林玉立氏圖書』(square relief) – front mounting silk
Guan qi dalüe『觀其大略』(square intaglio) – front mounting silk
Hebei Tangcun『河北棠村』(square relief) – painting/back mounting silk join, middle
Jiaolin『蕉林』(square relief) – back mounting silk/colophon 1 join, top
4. Wanyan Jingxian 完顏景賢 (died 1927) – (1)
Jingxian cengguan『景賢曾觀』(rectangle relief) – back mounting silk, lower right
1. Early half seals and damaged seals – (7)
Attributed to Li Gonglin 李公麟 (ca. 1049–1106) – (2) – fake or not his
Longxi ji『隴西記』(gourd-shape relief; right half)8 – painting, left edge Xiyuchi『洗玉
池』 9
(square relief; right half) – painting, left edge
Zhao Ji, Emperor Huizong of the Song dynasty 宋徽宗趙佶 (1082–1135; reigned 1101–1125)
– (1) – fake
Double-dragon design 10 (circle relief; left half) – painting, right edge
Undeciphered early seals (partial or damaged) – (4)
One damaged seal (illegible) – painting, lower right
One half-seal, right half (illegible) – painting, left edge
One half-seal, right half (illegible) – painting, lower left
One half-seal, right half (illegible) – painting, lower left
2. Geng Jixun 耿繼訓 (mid-17th century) – (7)
Chang yi zisun『長宜子孫』(square intaglio) – painting, left – (1/2)
Zongjia zhonggui『宗家重貴』(square intaglio) – painting, left – (1/2)
Yunjian cishi Geng Jixun yin『雲間刺史耿繼訓印』(square relief) – painting, left – (1/3)
Yunjian cishi Geng Jixun yin『雲間刺史耿繼訓印』(square relief) – back mounting
silk/colophon 1 join, bottom – (2/3)
Chang yi zisun『長宜子孫』(square intaglio) – colophon 1, left – (2/2)
Zongjia zhonggui『宗家重貴』(square intaglio) – colophon 1, left – (2/2)
Yunjian cishi Geng Jixun yin『雲間刺史耿繼訓印』(square relief) – colophon 1, left – (3/3)
3. Liang Qingbiao 梁清標 (1620–1691) – (4)
Jiaolin Yuli shi tushu『蕉林玉立氏圖書』(square relief) – front mounting silk
Guan qi dalüe『觀其大略』(square intaglio) – front mounting silk
Hebei Tangcun『河北棠村』(square relief) – painting/back mounting silk join, middle
Jiaolin『蕉林』(square relief) – back mounting silk/colophon 1 join, top
4. Wanyan Jingxian 完顏景賢 (died 1927) – (1)
Jingxian cengguan『景賢曾觀』(rectangle relief) – back mounting silk, lower right
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1914.53
References
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__________. Wuyiyouyizhai lunhua shi 無益有益齋論畫詩 (1909). Hankou: Weixin yinshuguan,
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n.p., n.d. Xia:1a–b.
__________. Sanyutang shuhua mu 三虞堂書畫目(1933). China: n.p., n.d. Xia:1a.
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Beijing: Wenwu chubanshe, 2000. Vol. 2. Pp. 1–4.
Taki Seiichi 瀧精一 (1873–1945). “Art Treasures in the Collection of Mr. Tuan-fang, ExViceroy
of Chih-li.” In Kokka 國華 250 (March 1911): 262.
__________. “Ku K‟ai-chih‟s Illustration of the Poem of Lo-shen.” Kokka 國華 253 (June 1911):
349–57.
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__________. Die Kunst Indiens, Chinas und Japans. Berlin: Propyläen-Verlag [1928]. Pp. 330–
31.
__________. Chinesische landschaftsmalerei. Berlin: Paul Neff Verlag, 1943. Plate 5.
Gookin, Frederick William (1854–1936), comp. The Art Institute of Chicago: Catalogue of a
Loan Exhibition of Ancient Chinese Paintings, Sculptures, and Jade Objects from the Collection
Formed by Charles Lang Freer. November 15 to December 8, 1917. Chicago: Art Institute of
Chicago, 1917. Pp. 11–12, no. 1.
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Charles Scribner‟s Sons, 1923. Pp. 59–62.
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Pp. 55–56.
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68 (plate) and 78.
Yamanaka Sadajirō 山中定次郎 (1866–1936), comp. Miura Hidenosuke 三浦秀之助, ed. Tō Sō
seika 唐宋精華 (Select Relics of the T‟ang and the Sung Dynasties from Collections in Europe
and America). 2 vols. Osaka: Yamanaka shōkai, 1928. Vol. 2 (Beikoku no bu 米国之部), plate 4.
Sirén, Osvald (1879–1966). Chinese Paintings in American Collections. Part 1. Paris and
Brussels: G. Van Oest, 1928. Pp. 7–8, plates 1a–b, 2a–b.
__________. Kinas konst under tre årtusenden. 2 vols. Stockholm: Natur och kultur, 1942–43.
Vol. 1, plate 106.
__________. Chinese Painting; Leading Masters and Principles. 7 vols. New York: Ronald Press
Co., 1956–58. Vol. 1, p. 29, and vol. 3, plates 9–10.
Harada Kinjirō 原田謹次郎 (1882– ). Shina meiga hōkan 支那名畫寶鑒 (The Pageant of
Chinese Painting). Tokyo: Ōtsuka kōgeisha, 1936. Plate 5.
Soper, Alexander C. (1904–1993). “Early Chinese Landscape Painting.” In The Art Bulletin 23
(June 1941): 141–64, fig. 12.
Munsterberg, Hugo (1916–1995). The Landscape Painting of China and Japan. Rutland VT &
Tokyo: Charles E. Tuttle, 1955. Plate 1.
Sickman, Laurence (1906–1988), and Alexander Soper (1904–1993). The Art and Architecture of
China. [Baltimore]: Penguin Books, 1956. Pp. 63–64, plate 49.
Ma Cai 馬采. Gu Kaizhi yanjiu 顧愷之研究. Shanghai: Shanghai renmin meishu chubanshe,
1958. P. 16 and plate 3 (five sections).
Pan Tianshou 潘天壽. Gu Kaizhi 顧愷之. Shanghai: Shanghai renmin meishu chubanshe, 1958.
P. 28.
Cahill, James F. Chinese Painting. Geneva: Skira, 1960. Pp. 26–27.
Sullivan, Michael. The Birth of Landscape Painting in China. Berkeley: University of California
Press, 1962. Pp. 153–55, and plate 114b.
__________. The Arts of China. 3rd ed. Berkeley, CA: University of California Press, 1984. P.
90.
Yu Jianhua 俞劍華, Luo Kazi 羅卡子, and Wen Zhaotong 溫肇桐, eds. Gu Kaizhi yanjiu ziliao
顧愷之研究資料. Beijing: Renmin meishu chubanshe, 1962. Pp. 176–78 and 194–95.
Lee, Sherman E. (1918–2008). A History of Far Eastern Art. New York: Abrams, 1964. P. 257
(fig. 327).
Fontein, Jan, and Rose Hempel. China, Korea, Japan. Berlin: Propyläen-Verlag, 1968. Plate 133.
Bussaglio, Mario. Chinese Painting. London, New York: Paul Hamlyn: 1969. P. 33, plate 13.
Freer Gallery of Art. Freer Gallery of Art, China I. Tokyo: Kodansha, 1972. Plate 35 and pp.
156–57.
__________. Masterpieces of Chinese and Japanese Art: Freer Gallery of Art Handbook.
Washington, DC: Freer Gallery of Art, Smithsonian Institution, 1976. P. 44
Lawton, Thomas. Chinese Figure Painting. Washington, DC: David R. Godine, in association
with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 18–29.
__________. “China‟s Artistic Legacy.” In Apollo Vol. 118, no. 258 (August 1983): 127–35, esp.
129.
__________, and Linda Merill. Freer: A Legacy of Art. Washington, DC: Freer Gallery of Art,
Smithsonian Institution, in conjunction with H. N. Abrams, 1993. Pp. 88 and 92–93 (fig. 62).
Suzuki Kei 鈴木敬 (1920–2007) and Akiyama Terukazu 秋山光和, eds. Chūgoku bijutsu: kaiga I
中國美術：繪畫 1 (Chinese Art in Western Collections: Paintings 1). Tokyo: Kodansha, 1973.
Plates 36–37 and p. 234.
Shih, Hsio-yen. “Poetry Illustration and the works of Ku K‟ai-chih.” Renditions 6 (Spring 1976):
6–29.
Loehr, Max (1903–1988). The Great Painters of China. Oxford: Phaidon Press, 1980. Pp. 18 and
20–21 (figs. 10–11).
Silbergeld, Jerome. “Kung Hsien‟s Self Portrait in Willows, With Notes on the Willow in Chinese
Painting and Literature.” In Artibus Asiae 42.1 (1980): 5–38, esp. p. 13 (fig. 2).
Watson, William (1917–2007). Art of Dynastic China. New York: Abrams, 1981. Plate 487.
Suzuki Kei 鈴木敬 (1920–2007). Chūgoku kaigashi 中國繪畫史. Tokyo: Yoshikawa kobunsha,
1981. Vol. 1, part 1, 36–40; and part 2, 24–25 (plates 23.1–5)
__________, ed. Chūgoku kaiga sōgō zuroku 中國繪畫總合圖錄 (Comprehensive Illustrated
Catalogue of Chinese Paintings). 5 vols. Tokyo: University of Tokyo, 1982–83. Vol. 1, 194–95
(A21–027).
Vandier-Nicolas, Nicole (1908–1987). Translated by Janet Seligman. Chinese Painting: An
Expression of a Civilization. New York: Rizzoli, 1983. P. 25 (plate 7)..
Xu Bangda 徐邦達. Gu shuhua wei’e kaobian 古書畫偽訛考辨. [Nanjing]: Jiangsu guji
chubanshe, 1984. Vol. 1, 21–31, esp. 24–25.
Fong, Wen C. Images of the Mind : Selections from the Edward L. Elliott Family and John B.
Elliot Collection of Chinese Calligraphy and Painting at the Art Museum, Princeton University.
Princeton, NJ: The Art Museum, in association with Princeton University Press, 1984. P. 14 (fig.
5).
Chen Pao-chen 陳葆真. The Goddess of the Lo River: A Study of Early Chinese Narrative
Handscrolls. Ph.D. dissertation, Princeton University, 1987. Pp. 283–85.
__________. “Chuanshi Luoshen fu gushihua de biaoxian leixing yu fengge xipu” 傳世〈洛神賦
〉故事畫的表現類型與風格系譜 (The Representational Modes and Stylistic Lineages of
Narrative Paintings on the Goddess of the Lo River). In Gugong xueshu jikan 故宮學術季刊
(The National Palace Museum Research Quarterly) 23.1 (Autumn 2005): 175–223.
Li, Wai-yee. “Dream Visions of Transcendence in Chinese Literature and Painting.” In Asian Art
3.4 (Fall 1990): 52–78, esp. 52 and 66–67.
Haiwai cang Zhongguo lidai minghua bianji weiyuanhui 海外藏中國歷代名畫編輯委員會, eds.
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chubanshe, 1998. Vol. 1, 25–29 (nos. 17–20).
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of Chih-li.” In Kokka 國華 250 (March 1911): 262.
__________. “Ku K‟ai-chih‟s Illustration of the Poem of Lo-shen.” Kokka 國華 253 (June 1911):
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Loan Exhibition of Ancient Chinese Paintings, Sculptures, and Jade Objects from the Collection
Formed by Charles Lang Freer. November 15 to December 8, 1917. Chicago: Art Institute of
Chicago, 1917. Pp. 11–12, no. 1.
Waley, Arthur (1889–1966). An Introduction to the Study of Chinese Painting. New York:
Charles Scribner‟s Sons, 1923. Pp. 59–62.
Ferguson, John C. (1866–1945). Chinese Painting. Chicago: University of Chicago Press, 1927.
Pp. 55–56.
Meyer, Agnes E. (1887–1970). “The Charles L. Freer Collection.” The Arts 12.2 (August 1927):
68 (plate) and 78.
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seika 唐宋精華 (Select Relics of the T‟ang and the Sung Dynasties from Collections in Europe
and America). 2 vols. Osaka: Yamanaka shōkai, 1928. Vol. 2 (Beikoku no bu 米国之部), plate 4.
Sirén, Osvald (1879–1966). Chinese Paintings in American Collections. Part 1. Paris and
Brussels: G. Van Oest, 1928. Pp. 7–8, plates 1a–b, 2a–b.
__________. Kinas konst under tre årtusenden. 2 vols. Stockholm: Natur och kultur, 1942–43.
Vol. 1, plate 106.
__________. Chinese Painting; Leading Masters and Principles. 7 vols. New York: Ronald Press
Co., 1956–58. Vol. 1, p. 29, and vol. 3, plates 9–10.
Harada Kinjirō 原田謹次郎 (1882– ). Shina meiga hōkan 支那名畫寶鑒 (The Pageant of
Chinese Painting). Tokyo: Ōtsuka kōgeisha, 1936. Plate 5.
Soper, Alexander C. (1904–1993). “Early Chinese Landscape Painting.” In The Art Bulletin 23
(June 1941): 141–64, fig. 12.
Munsterberg, Hugo (1916–1995). The Landscape Painting of China and Japan. Rutland VT &
Tokyo: Charles E. Tuttle, 1955. Plate 1.
Sickman, Laurence (1906–1988), and Alexander Soper (1904–1993). The Art and Architecture of
China. [Baltimore]: Penguin Books, 1956. Pp. 63–64, plate 49.
Ma Cai 馬采. Gu Kaizhi yanjiu 顧愷之研究. Shanghai: Shanghai renmin meishu chubanshe,
1958. P. 16 and plate 3 (five sections).
Pan Tianshou 潘天壽. Gu Kaizhi 顧愷之. Shanghai: Shanghai renmin meishu chubanshe, 1958.
P. 28.
Cahill, James F. Chinese Painting. Geneva: Skira, 1960. Pp. 26–27.
Sullivan, Michael. The Birth of Landscape Painting in China. Berkeley: University of California
Press, 1962. Pp. 153–55, and plate 114b.
__________. The Arts of China. 3rd ed. Berkeley, CA: University of California Press, 1984. P.
90.
Yu Jianhua 俞劍華, Luo Kazi 羅卡子, and Wen Zhaotong 溫肇桐, eds. Gu Kaizhi yanjiu ziliao
顧愷之研究資料. Beijing: Renmin meishu chubanshe, 1962. Pp. 176–78 and 194–95.
Lee, Sherman E. (1918–2008). A History of Far Eastern Art. New York: Abrams, 1964. P. 257
(fig. 327).
Fontein, Jan, and Rose Hempel. China, Korea, Japan. Berlin: Propyläen-Verlag, 1968. Plate 133.
Bussaglio, Mario. Chinese Painting. London, New York: Paul Hamlyn: 1969. P. 33, plate 13.
Freer Gallery of Art. Freer Gallery of Art, China I. Tokyo: Kodansha, 1972. Plate 35 and pp.
156–57.
__________. Masterpieces of Chinese and Japanese Art: Freer Gallery of Art Handbook.
Washington, DC: Freer Gallery of Art, Smithsonian Institution, 1976. P. 44
Lawton, Thomas. Chinese Figure Painting. Washington, DC: David R. Godine, in association
with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 18–29.
__________. “China‟s Artistic Legacy.” In Apollo Vol. 118, no. 258 (August 1983): 127–35, esp.
129.
__________, and Linda Merill. Freer: A Legacy of Art. Washington, DC: Freer Gallery of Art,
Smithsonian Institution, in conjunction with H. N. Abrams, 1993. Pp. 88 and 92–93 (fig. 62).
Suzuki Kei 鈴木敬 (1920–2007) and Akiyama Terukazu 秋山光和, eds. Chūgoku bijutsu: kaiga I
中國美術：繪畫 1 (Chinese Art in Western Collections: Paintings 1). Tokyo: Kodansha, 1973.
Plates 36–37 and p. 234.
Shih, Hsio-yen. “Poetry Illustration and the works of Ku K‟ai-chih.” Renditions 6 (Spring 1976):
6–29.
Loehr, Max (1903–1988). The Great Painters of China. Oxford: Phaidon Press, 1980. Pp. 18 and
20–21 (figs. 10–11).
Silbergeld, Jerome. “Kung Hsien‟s Self Portrait in Willows, With Notes on the Willow in Chinese
Painting and Literature.” In Artibus Asiae 42.1 (1980): 5–38, esp. p. 13 (fig. 2).
Watson, William (1917–2007). Art of Dynastic China. New York: Abrams, 1981. Plate 487.
Suzuki Kei 鈴木敬 (1920–2007). Chūgoku kaigashi 中國繪畫史. Tokyo: Yoshikawa kobunsha,
1981. Vol. 1, part 1, 36–40; and part 2, 24–25 (plates 23.1–5)
__________, ed. Chūgoku kaiga sōgō zuroku 中國繪畫總合圖錄 (Comprehensive Illustrated
Catalogue of Chinese Paintings). 5 vols. Tokyo: University of Tokyo, 1982–83. Vol. 1, 194–95
(A21–027).
Vandier-Nicolas, Nicole (1908–1987). Translated by Janet Seligman. Chinese Painting: An
Expression of a Civilization. New York: Rizzoli, 1983. P. 25 (plate 7)..
Xu Bangda 徐邦達. Gu shuhua wei’e kaobian 古書畫偽訛考辨. [Nanjing]: Jiangsu guji
chubanshe, 1984. Vol. 1, 21–31, esp. 24–25.
Fong, Wen C. Images of the Mind : Selections from the Edward L. Elliott Family and John B.
Elliot Collection of Chinese Calligraphy and Painting at the Art Museum, Princeton University.
Princeton, NJ: The Art Museum, in association with Princeton University Press, 1984. P. 14 (fig.
5).
Chen Pao-chen 陳葆真. The Goddess of the Lo River: A Study of Early Chinese Narrative
Handscrolls. Ph.D. dissertation, Princeton University, 1987. Pp. 283–85.
__________. “Chuanshi Luoshen fu gushihua de biaoxian leixing yu fengge xipu” 傳世〈洛神賦
〉故事畫的表現類型與風格系譜 (The Representational Modes and Stylistic Lineages of
Narrative Paintings on the Goddess of the Lo River). In Gugong xueshu jikan 故宮學術季刊
(The National Palace Museum Research Quarterly) 23.1 (Autumn 2005): 175–223.
Li, Wai-yee. “Dream Visions of Transcendence in Chinese Literature and Painting.” In Asian Art
3.4 (Fall 1990): 52–78, esp. 52 and 66–67.
Haiwai cang Zhongguo lidai minghua bianji weiyuanhui 海外藏中國歷代名畫編輯委員會, eds.
Haiwai cang Zhongguo lidai minghua 海外藏中國歷代名畫. 8 vols. Changsha: Hunan meishu
chubanshe, 1998. Vol. 1, 25–29 (nos. 17–20).
abstract
Traditionally attributed to Gu Kaizhi (傳)顧愷之