Weiner Mihályné szerk.: Az Iparművészeti Múzeum Évkönyvei 11. (Budapest, 1968)
HOPP FERENC MÚZEUM — MUSÉE FERENC HOPP - Horváth, Tibor: Report on the Activities of the Hopp Museum of Eastern Asiatic Arts in 1967
to the Emperor Ch'ien-lung, who, during his long reign of sixty years, patronized not only the scholars, but also the artists and literary men of his day. Among a number of painters at Court, Chang Tsung-ts'ang was one of his favorite painters, who was later appointed to the post of a secretary (chu shih) in the Board of Revenue (hu pu). At the age of 70 he retired. The school of the four Wangs and the traditions of pre-Yuan painting have equally exercised influence on him. Chang Tsung -tsng has relied more on ink and less on color. He was a prolific painter, having devoted himself mainly to landscape painting. The Kuo-ch'ao yuan-hua lu lists one hundred works of him. In Osvald Siren's work, "Chinese painting", 34 paintings by Chang are mentioned, among them there are also album paintings. Among the Chinese mounted scrolls, according to the formats for painting, either the hanging scrolls and hand scrolls or the albums are portable. The album represents actually the transition from hand scroll to book. Instead of being rolled up the leaf was folded accordion-wise. This type of album is today stil used for mounting together a number of smaller calligraphic specimens and pictures, which can be viewed on the desk. An album usually contains eight, ten or twelve pictures. The covers are usually made of thick cardboard, covered with cp 'a simple silk or expensive brocade, and sometimes padded with cotton wool. In North China, where the climate is diy, the covers are not made of wood, which is however much more suited in South China for making the covers. Then the title is engraved on the middle of the front cover, the characters being filled in with white, green or red paint. Chang Tsung-ts'ang's album painting is covered by two boards made of nanmu. On the front cover is the title in Chinese: Yü shang Chang Tsung-ts'ang shan shui ts'e pa chen (An album of eight landscape paintings by Chang Tsung-ts'ang for the Emperor's use). Of the eight pictures only this one is reserved. It is a painting on yellowish silk mounted on white figured brocade. In the background are green hills, at the foot of the hills a stream. In front, on the rock with pine-trees and elm-flowers, stands a one-storey pavilion at the end of the mountain path. A man in green can be seen on the floor. There is neither signature, nor seal and inscription. However on the blank accordion-wise pages of the album two imperial seals can be viewed. The practice of emperors stamping their seals on paintings came into fashion during the reign of the T'ang Emperor T'ai-tsung. The Ch'ien-lung Emperor showed a particular preference for stamping his seals, and at times he wrote colophons on the paintings in a calligraphic style. One of the two seals on the blank pages of this album is: Ch'ien lung yü lan chih pao {Treasure for the Ch'ien-lung Emperor's viewing). The other is: Lo shou t'ang ching chien hsi (The seal of the Emperor's Lo-shou-t'ang). Sizes: 7.8x7.7 cm. and 5.9x5.9 cm. In 1936 at the international exhibition of Chinese art in London, one hanging scroll by Chang Tsung-ts'ang was exhibited. It was a landscape painting after the style of Huang Kungwang. (Illustrated catalogue of Chinese Government Exhibits for the International Exhibition of Chinese Art in London. Vol. III. Painting and Calligraphy. Shanghai. 1936. P. 243.) This painting is not included in the list of Siren's above-mentioned work. L. K.
