Shen Nan-p’ing lived in the seventeenth and eighteenth centuries. He was called to Japan in 1720 and founded there the school of Ming-Ch’ing or the modern Chinese school.
Huang Yin-piau or Huang-shên. At the height of his career between 1727 and 1746. He painted landscape and, toward the end of his life, legendary figures of Buddhism and Taoism with a technique that was skillful but often precise and somewhat weak.
FOOTNOTES:
[A] Now owned by Mr. and Mrs. Robert Woods Bliss.
[1] Chinese ink is a very different composition from the ink of Western countries. It is a solid made of soot obtained by burning certain plants, which is then combined with glue or oil and moulded into a cake and dried. Other ingredients may be added to produce sheen or a dead finish. It improves with age if properly kept. The cake is moistened and rubbed on a slab, and the ink thus obtained must be used in a special way and with special care to produce the full effect.— Translator.
[2] The Chinese terms are Li Chou for a vertical painting and Hêng P’i for a horizontal painting.—Translator.
[3] These are: the worlds of animals, of man, of gods or dêvas, of giants or asuras, of prêtas or wandering spirits, and of hells. Freedom from perpetual transmigration in these six worlds is attained only through the extinction of desire.
[4] These bas-reliefs have been studied by M. Chavannes in “La sculpture sur pierre en Chine au temps des deux dynasties Han,” Paris, 1893; also in “Mission archéologique en Chine,” Paris, 1910. Rubbings taken from the sculptured slabs are reproduced here in full.
[5] This painting formed part of the collection of the ex-viceroy Tuan Fang, killed in 1911, during the revolution. It was published in 1911 by the Japanese archeologist, Mr. Taki.
[6] These reasons are set forth in a work which Mr. Laurence Binyon is preparing, to accompany a reproduction engraved by Japanese artists for the British Museum.