Ink Bamboo (Mo-chu)
Masterpiece Loans, Baltimore Museum of Art, September 22-October 18, 1964.
Chinese Art Under the Mongols, Yale University Art Gallery, 1968-1969. Traveled to Albright-Knox Gallery, Buffalo, New York; Cleveland Museum of Art, October 1-November 24, 1968; Asia House Gallery, New York.
Eight Dynasties of Chinese Painting, Nelson-Gallery-Atkins Museum, Kansas City, November 7, 1980 – January 4, 1981; The Cleveland Museum of Art, February 7 – April 5, 1981; The Asia Society, December 3, 1981 – February 28, 1982; Tokyo National Museum, October 4 – November 17, 1982, no. 83.
Senses and Sensibilities in Chinese Painting, The Nelson-Atkins Museum of Art, December 14, 2008- February 15, 2009.
With C. T. Loo & Co., New York, stock card no. LP-7/5, by January 1947-1948 [1];
Purchased from C. T. Loo & Co. by The Nelson-Atkins Museum of Art, Kansas City, MO, 1948.
NOTES:
[1] C. T. Loo/Frank Caro archive, Musée Guimet, Paris, copy of stock card in Nelson-Atkins curatorial files.
Pian Yongyu, Shigutang shu hua hui kao ( Notes and records on calligraphy and painting). (1682), ch. 18, 192-193.
Wu Sheng. Daguan lu [The record of wonderful sights] Prefaced dated 1712. First ed. Collated by Li Zunian (Shanghai: 1920), ch. 18, 22.
Zheng Zhenduo, Yunhuizhai cang Tang Song yi lai ming hua ji [Paintings of T’ang, Sung, and later periods in the collection of Zhang Congyu] (Shanghai: 1947), pls. 10-11.
Wang Chi-ch’ien, “ Introduction to Chinese Painting” Archives of Chinese Art Society of America, vol. II ( 1947), 21-27, fig. 4.
Wang Shih-hsiang, “Chinese Ink Bamboo Painting” , Archives of the Chinese Art Society of America, vol. III ( 1948-1949), 49-58, pl. 111b.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 3rd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1949), 144.
Judith Burling and Arthur H., Chinese Art (New York: 1953), pl. 115.
Laurence Sickman, and Alexander Soper, The Art and Architecture of China, The Pelican History of Art, ed. Nikolaus Pevsner, (Harmondsworth, 1956), 3rd. Ed., rev. 1968, 159-160, pl. 120B; paperback ed., 1971, 298, fig. 203.
Osvald Siren, Chinese Paintings: Leading Masters and Principles, 7 vols. (New York: 1956-1958), vol. IV, 44-45; vol. VI, pls. 48-49.
H. W. (Horst Woldemar) Janson, Key Monuments in the History of Art (New York: 1959), pl. 348.
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959),202.
Lin Yu-t’ang, Imperial Peking (London: 1961), pl. 85.
Gu Fu, Ping sheng zhuang guan [The great sights in my life a record of paintings and collections]. Prefaced dated 1692 (Shanghai: 1962), ch. 9. 28.
Wen Jia 文嘉, Qianshantang shu hua ji 鈐山堂書畫記 [ The painting and calligraphy collection of Yan Song], ( Author’s preface dated 1568) Meishu congshu ed. ( Taipei: 1963 ), reprinted, vol. XVI, 58.
Sherman E. Lee, A History of Far Eastern Art (New York: 1964, 2nd ed. Rev. 1973), 407, fig. 539.
William Willetts, Foundations of Chinese Art (New York: 1965), pl. 200.
Li Lin-ts’an, “A study of Chinese Ink Bamboo Painting”, National Palace Museum Quarterly, (1967) vol. I, no. 4.
Wm. Justema, The Pleasures of Pattern (New York: 1968), 23.
Sherman Lee and W. K. Ho, Chinese Art under the Mongols: The Yuan Dynasty (1279-1368), Exh. Cat.: Cleveland Museum of Art (Cleveland: October 1- November 24, 1968), no. 242.
Horizon magazine, ed. Arts of China (New York: 1969), 125.
L. M. Andrews, “Bamboo, the Noble Plant”, Garden Journal (February, 1971), vol. 21, no. 1, pp. 22.
B. Gascoigne, Treasures and Dynasties of China (London: 1973), 170.
Ross E. Taggart, George L. McKenna, and Marc F. Wilson, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. II, Art of the Orient. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 58.
Marc F. Wilson, “ The Chinese Painter and his Vision”, Apollo, special issue for the Asian art collection in the Nelson-Atkins Museum of Art, Vol. XCVII, no. 133 (March 1973):234-236, fig.8.
Wai-Kam Ho, et al., Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and The Cleveland Museum of Art. (The Cleveland Museum of Art in cooperation with Indiana University Press, c1980), 102-104, no. 83. (repro.)
Janet L. Carpenter, “Eight Dynasties of Chinese Painting”, Orientations, (May 1981): 14-31: pl. 19.
Yujiro Nakata and Shen C.Y. Fu, Obei shuzo Chugoku hosho meiseki shu [Masterpieces of Chinese Calligraphy in American and European Collections. (Tokyo: Chuokoron-sha, 1981) pl. 35- 38, 48-51,142-143, nos. 35-38.
Jin Tang Song Yuan Ming Qing Ming hua bao jian.
Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, 1988),188-189.
Wen C. Fong, Beyond Representation: Chinese Paintings and Calligraphy 8th-14th Century, (New York: The Metropolitan Museum of Art, 1992,), 391, fig. 165.
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 321.
Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 352, fig. 215.
