The Rooster is singled out by its expressive outlining brushwork and the vibrant red color of the comb. Its decorative flavor is also enhanced by using a specific type of paper called “cloud-dragon paper” (yunlong zhi), as the pattern of décor resembles motifs of cloud and dragon. Vertical calligraphic text in in the upper left corner.
An elegant writing box, which originally came with a paperknife, a water-dropper, and a stone for grinding the ink. Black laquer with poetic motifs formed out of abalone shells, gold, silver and corroded lead.
The sword is long and slightly curved; the metal smith's name is engraved on the metal handle. The scabbard is painted with black laquer with image of samurai and cherry tree. He wears a jacket, pants, a straw hat and a sword, holding a brush, possibly writing a poem on a piece of paper hanging from the tree. The figure and tree are painted with rose-color and gold laquer.
The animals are presented in zodiac sequence, from right to left: mouse, ox, tiger, hare, dragon, serpent, horse, goat, monkey, chicken, dog, and boar. The eight-fold screen allows the animals to seem to walk across the space. Negative space plays a significant role in the screen, creating a place for the animals to exist and at the same time extending into the room.
Artist Life Dates
Object Creation Date
Medium and Support
one of a pair of six-fold screens, ink and color on silk
This is a portraiture of Chang Ku-nien's elder son and daughter. It's spring time. The setting may be in a garden with beautiful apricot flowers, lush pine trees and stone table. Pink and green colors used brightens the painting, suggesting a happy marriage.
A monkey climbs up a tree, grasping at the branches with his hands and feet. The image uses soft colors, and the monkey almost appears to be leaning or falling away from the tree. The top right corner appears gray.
Travelling in Autumn Mountains: Landscape in the style of Guo Xi (Kuo Hsi)
Artist Unknown, China
A group of travellers moves along a path at the foot of the mountains that grow upward, dominating the majority of the pictoral space. The common technique using small black dots occurs throughout the painting, accenting mountain edges, tree branches and roots. A building can be seen peeking out from behind the mountains in the lower portion of hte painting.
Ten-panel screen depicting similar mountain scenes over changing seasons. A spring scene begins on the right, gradually changing over the ten images to winter on the left. In an upper corner of each scene is a corresponding seasonal poetic inscription. These images are created using ink and color on paper, which was mounted on the upper two-thirds of each panel of the screen.
Landscape colored with the bright hues of autumn. Pavilions are nestled among clouds and mountain forests. A rustic staircase appears between wisps of clouds and trees, winding up the slope next to waterfalls.
Sword (original) and later handle, sword guard, and scabbard
The sword is long and slightly curved; the handle cover is wrapped with black cords, mostly worn out. The round tsuba (sword guard) is made of steel and has two holes. The scabbard is painted with lacquer and has a string for hanging. There is a pair of lion-shaped menuki (fitting) on the handle.
One of six hanging scrolls in a series depicting the landscape of Ali Mountain, trees and hillside are shown below calligraphic text. The artist uses alternating wet ink washes for the misty clouds and dry flying-brushes for the large pine trees
A shabbily dressed figure holds out at arm’s length a small fish. He is completely focused on his catch, and his mouth almost seems to drool. The face, hands, and feet are sketched in a deliberately simplistic way, while the costume is drawn with only a few swift slashes of the brush, and the strokes bleed into each other.
Hanging scroll with five large calligraphic kanji characters. The lower right contains further text and orangish read seals. The background brocade on which it is mounted is green and gold and has a floral design. Two strips of other material lie across the top and bottom of the white material on which teh calligraphy is painted. These strips also have a floral design and a light gold/yellow background.
A grounded and a flying goose is paired in both paintings, creating a contrast of stillness and movement. A goose swoops into the scene from the top left, while the neck of the grounded goose follows a graceful curve to look at the approaching bird. Vertically between then is a black of calligraphic text, and reeds gently arch into the scene from the right.