913:
258:
1029:
1089:
954:(r. 48–33 BC), who in 38 BC placed herself in the path of a bear that had escaped from its cage during a wild animal fight show before the emperor, in an attempt to save the emperor's life – the bear was killed by the guards, and Lady Feng survived. This is the first surviving scene in the British Museum copy (although the accompanying text is missing), and it shows Lady Feng confronting the bear, but being saved just in time by two guards with spears, and the emperor and two court ladies watching in horror on one side. The lady on the left of the scene is believed to be Lady Fu, who is noted to have run away from the bear in the biography of Lady Feng in the
1566:
920:
866:
718:
831:
691:
society has a proper role and place, and if they follow that, then a very healthy and effective society is ensured. Now that message must have been especially important at the time that the poem that this scroll is based on was written, and at the time it was painted, because these were times of social chaos. So what the message is, is that the woman, even one with great beauty, must always evince humility, she must always abide by rules, and never forget her position in relationship to her husband and family; and by doing so, she is a positive and active force in promoting social order. (Jan Stuart, Keeper of the
1353:
410:(618–907) copy, was made in a book written by Hu Jing (胡敬, 1769–1845) in 1816. However, it was not until the 20th century that art historians determined on stylistic grounds that the painting cannot have been produced during the Jin dynasty, and therefore cannot be an original work by Gu Kaizhi. However, there is considerable divergence of opinion between experts as to when and where the painting was made, and whether it is based on an earlier work by Gu Kaizhi or not. The prevalent opinion until recently has been that the painting was a copy of a Gu Kaizhi painting produced during the
1249:
494:
973:
480:(344–388), or by Gu Kaizhi himself, but modern scholarly opinion is that the calligraphy was probably added by an anonymous court calligrapher at the same time that the painting was made or at some time later. However, as with the painting, there are widely divergent opinions about when exactly the text was inscribed on the scroll. At one extreme, Kohara Hironobu has suggested that the text was not added to the scroll until after 1075, using a deliberately antique Tang dynasty calligraphic style, whereas more recently Wen Fong has stated that the calligraphy of the
1133:
540:
40:
513:(r. 1162–1189). Unlike the British Museum copy, which is missing the first three scenes, the Palace Museum copy is complete in twelve scenes. However, as the first three scenes of the Palace Museum copy are not as detailed or complex as the other scenes on the scroll, it is possible that the British Museum scroll had already lost the three initial scenes by the time that it was copied in the 12th century, and thus the first three scenes may have been imaginative reconstructions by the court painter who made the Palace Museum copy.
1169:
1317:
1383:(960–1127) that there is any evidence for the existence of the painting. The painting and its end sections have numerous seal impressions purportedly indicating the past ownership of the painting, and these provide valuable evidence for the history of the scroll; however many of these are later fabrications of ancient seals intended to increase the appeal of the painting to collectors and connoisseurs. One particular seal that in the past has been used to link the painting to the
1678:(漆原木虫). In 1914–1915 the scroll was dismantled, and remounted on two long stretchers, one containing the nine scenes of the original painting, and one containing all the other sections, except for the Zou Yigui painting, which was mounted separately as an album leaf. Since 1914 the painting has been housed in the North Wing of the British Museum, although it is only occasionally put on public display due to its sensitivity to light; namely, six weeks each year.
4296:
644:
1625:). Qianlong also commissioned two paintings each from eight painters to be affixed to the outer boxes containing the "Four Beauties", but none of the boxes survive. Like Xiang Yuanbian before him, Qianlong marked his ownership of the painting with numerous seal impressions (37 in total), which he apparently added at different times and on different occasions throughout his sixty-year reign.
1661:. His family later claimed that he was given the scroll as a reward for escorting a "lady of high birth" and her family to safety, but this story has never been corroborated. Johnson did not realise the value of the scroll, but when he returned to London in 1902 he took it to the British Museum to have the jade toggle on it valued. The keeper of the department of Prints and Drawings,
1124:
lady helps comb her hair. To the right another lady, facing away from the viewer, looks into a mirror held in her hand, which reflects the lady's visage back to the viewer. The two mirrors in this scene are perhaps intended to be more than just tools for helping with make-up, but mirrors into the souls of the ladies, reflecting their inner nature as much as their external appearance.
964:
the scene much less dramatic than the
British Museum copy. Furthermore, in the Palace Museum copy, Lady Fu is on the other side of the inscription for the following scene, thereby making her an unexplained appendix to the story of Lady Ban, and at the same time destroying the intended contrast between the courageousness of Lady Feng and the cowardice of Lady Fu.
1581:(r. 1735–1796), who treasured the painting as the pinnacle of Chinese art. Qianlong had the painting remounted in 1746, and a number of extra elements were added to the scroll, including a title inscription, a painting of an orchid by Qianlong, a long colophon by Qianlong, and at the very end of the scroll a painting by
1012:
painting shows the emperor being carried in a palanquin, and Lady Ban conspicuously walking behind. This scene is similar in construction to the painting of the same story on the lacquer screen from the tomb of Sima
Jinlong (died 484), but whereas the lacquer painting shows Emperor Cheng alone in the palanquin, in the
1343:
The previous scene showed the final fate of a lady who did not follow the admonitions of the instructress, whereas this penultimate scene shows a palace lady sitting in quiet contemplation, presumably following the admonitions in the accompanying lines, awaiting the honour and fame that should be her
662:
The
British Museum copy of the painting has lost the three initial scenes at the right of the scroll, so the description of these scenes below is based on the Palace Museum copy, even though it is possible that these scenes are not copied from the original picture but are imaginative reconstructions.
1123:
In contrast to the tense action of the previous scene, this scene is one of calmness and stillness, showing the palace ladies at their toilette. The focus of the scene is on a lady sitting in front of a bronze mirror, and with a set of nested lacquer boxes laid out to the side. Behind her, another
429:
period (420–589). One often mentioned example of a supposed copyist's error is the apparently confused representation of the palanquin frame in the scene of Lady Ban; but recent ultra-violet examination of the scroll has shown that there has been considerable repainting over a repair to damaged silk
1079:
Examination of the painting under ultra-violet has shown that almost all of the mountain (all except for the lower left corner) has been damaged and repaired, which suggests that this central scene was the most studied and handled part of the scroll, perhaps due to the greater critical value placed
1011:
with her husband as she said that paintings of wise rulers always showed them in the company of their ministers, whereas paintings of decadent rulers always showed them in the company of their wives and concubines, and so it would be inappropriate for her to be seen in public with the emperor. The
816:
copy, missing in the
British Museum copy, simply shows a man in court dress and a woman facing each other, representing the basic theme of the painting, that is the role of women in feudal society and the proper relationship between man and woman. The image is disturbed by a line of text from Zhang
484:
is more closely related to the style of the monk
Zhiyong 智永 who was active during the late 6th and early 7th century, and so the text would have been added during the late 6th century at a Southern dynasty court scriptorium. Other experts have dated the calligraphy even earlier, to the 5th or early
386:
was in the collection of a palace eunuch by the name of Liu
Youfang. Crucially, he also attributes the painting to Gu Kaizhi, but it is not clear whether this attribution was based on documentary evidence or whether this was simply his opinion based on the style of the painting. The next reference
1673:
25. By 1910 the scroll had been examined by a number of experts in
Oriental art, and it had been recognised as an ancient masterpiece of Chinese art, and in 1912 the British Museum commissioned the printing of one hundred woodblock colour print facsimiles of the painting by Sugizaki Hideaki (杉崎秀明)
1549:
was in the possession of Xiang, it was seen by the famous painter, Dong
Qichang (董其昌, 1555–1636), who copied out the inscriptions to the paintings, which he believed to be by Gu Kaizhi, and published them in 1603 as calligraphic models. Thereafter, the painting changed hands frequently, and during
1239:
This scene takes the last line of the long quotation from Zhang Hua's text as its subject, showing the emperor surrounded by his wives and children, the group forming a triangular formation reminiscent of the mountain in Scene 6. At first sight, the family group suggests stability and permanence,
1063:
This scene departs from the pattern of the previous scenes, which illustrated anecdotes at specific historical figures, as the text presents general observations about the impermanence of fame and glory. The painting depicts the last four lines of the quoted text, showing a triangular mountain (a
963:
It is interesting to compare this scene in the two copies of the painting. Although they are very similar with regards to the layout and postures of the figures, the Palace Museum version (upper image) is much more spread out, with a large gap between the attacking bear and Lady Feng, which makes
896:(died 643 BC), who remonstrated against her husband's love of licentious music by refusing to listen to such music, even though she herself was a great musical talent. The Palace Museum copy of the painting shows the Lady of Wei listening to morally uplifting ritual court music played on sets of
1159:
This scene takes the oblique reference to sharing a bed in the text of Zhang Hua as the subject, showing the emperor visiting one of his consorts in her bed chamber. However, sitting uneasily on the edge of bed, his feet firmly planted on the floor, he looks across at the lady, as if uncertain
1540:
came into the possession of the Ming court. However, the painting did not stay in government ownership for long, as it was noted by He
Liangjun (何良俊, 1506–1573) as being in the possession of the official Gu Congyi (顧從義, 1523–1588) during the 1560s. It then entered the collection of wealthy art
690:
The scroll before us fits into a tradition of didactic imagery established in the Han
Dynasty and influenced by the great philosopher Confucius. When you read the text alongside the images, you realise that there's a deep message being communicated here. Confucius had the idea that everyone in
369:
Although the painting was long thought to have been painted by Gu Kaizhi, the painting is not signed or sealed by the artist, and there is no record of Gu Kaizhi having painted such a painting in his biography or in any work which is contemporaneous with his life. The earliest mention of the
1733:
It is not absolutely certain how many scenes the original painting would have comprised, and some sources state that the British Museum copy is only missing two scenes (i.e. the scenes of Lady Fan and the Lady of Wei). However, most experts assume that the original painting would have had an
1453:
is included in the 1120 catalogue of Emperor Huizong's art collection. However, as Mi Fu records that a few years earlier the painting had been in the possession of Liu Youfang (劉有方, active 1074–1099), a palace eunuch, it seems probable that the painting was moved around the imperial court,
552:
Blue brocade outer wrapper added when the scroll was remounted for the Qianlong Emperor in 1746, with a buff title-slip inscribed "Gu Kaizhi's painting of the Admonitions of the Instructress, with text, an authentic relic – a precious work of art of the Inner Palace, divine class"
1652:
was sent to quell the rebellion and relieve the siege of Western legations in Beijing. After the suppression of the Boxers, there was a considerable amount of looting throughout the capital, and during this time of chaos Captain Clarence A. K. Johnson (1870–1937) of the
521:
The scroll comprises nine scenes of the original twelve scenes that made up the painting attributed to Gu Kaizhi, and a number of appended items that used to be attached to it at either end. The scroll is now flat mounted on two stretchers, with one separate album leaf:
192:(257–300) and to provide advice to the women in the imperial court. The painting illustrates this text with scenes depicting anecdotes about exemplary behaviour of historical palace ladies, as well as with more general scenes showing aspects of life as a palace lady.
853:(died 591 BC), who remonstrated against her husband's excessive hunting and lavish banqueting by refusing to eat the meat of any of the animals he killed for three years. The Palace Museum copy of the painting shows Lady Fan kneeling in front of an empty table, with
1482:(1127–1279). One indirect indication that the scroll did not fall into Jurchen hands is that the Beijing copy of the scroll is believed to be an immediate copy of the scroll now in the British Museum, and it is believed to have been made during the reign of
223:
who sold it to the British Museum. The scroll is incomplete, lacking the first three of the twelve original scenes, which were probably lost at an early date. A monochrome paper scroll copy of the painting, complete in twelve scenes, was made during the
1756:
silk banner). The British Museum copy is not clear, but appears to show a rabbit or hare in the moon, which corresponds to later Chinese artistic practice, although this may be due to the painting of the moon having been repaired at a later
1509:(1271–1368), an official called Wang Yun (王惲, 1227–1304) was commanded to make an inventory of the Southern Song imperial collection so that the best pieces could be sent to the Yuan capital at Beijing, but his inventory does not mention the
418:, who believes that the original painting must have been painted prior to 484 as she thinks that the scene of Lady Ban on the lacquer screen from the tomb of Sima Jinlong (died 484) must have been modelled on the same scene on the original
1554:
it is known to have been in the possession of Zhang Chou (張丑, 1577–1643), Zhang Xiaosi (張孝思), Da Zhongguang (笪重光, 1623–1692), and Liang Qingbiao (梁清標, 1620–1691), before finally being acquired by a wealthy salt merchant, An Qi (安岐,
821:
text awkwardly placed in between the two figures, but as this line should go with the following scene, it has been taken as evidence that the first three scenes in the Palace Museum copy are not entirely modeled upon the original.
1409:. However, there are indications that this seal may be a later forgery or else that it may be a genuine post-Tang seal added by a private collector with the name Hongwen, and so it is regarded with suspicion by many experts.
1307:
In stark contrast to the scene of family union and harmony in the previous scene, this scene shows the emperor turning away from his consort, his hand raised in a gesture of rejection and with a look of disdain on his face.
475:
The calligraphy of Zhang Hua's text inscribed on the painting has also been extensively used as dating evidence for the painting. The calligraphy was once thought to be by Gu Kaizhi's contemporary, the famous calligrapher
1494:(r. 1189–1208), but as these are not on the painting itself, they may have been added at a later date from a different source. One of the end sections also incorporates two seals of the notorious Southern Song chancellor,
1448:
there, and it is possible that he also housed Gu Kaizhi's masterpiece of painting with it. At any rate, it is known for certain that the painting was in the imperial collection during the reign of Emperor Huizong as the
203:, England, is one of the earliest extant examples of a Chinese handscroll painting, and is renowned as one of the most famous Chinese paintings in the world. The painting is first recorded during the latter part of the
1477:
next is a matter of conjecture. There is no hard evidence as to whether the scroll ended up in the Jurchen north or was taken to safety to the south of China, which remained under the control of the Chinese as the
422:; but on the basis of what she sees as copyist's errors in the details of the British Museum scroll, she concludes that the extant painting is a Tang dynasty copy of an earlier work, probably by Gu Kaizhi.
1240:
but the viewer may be expected to remember the earlier reference to the fragility and impermanence of a mountain made of dust, and realise that these familial relationships can collapse just as suddenly.
1016:
another court lady is seated beside him, showing that he ignored the advice of Lady Ban, and highlighting the fact that his behaviour as emperor was seen to be responsible for the seizure of power by
643:
211:(r. 1100–1126). It passed through the hands of many collectors over the centuries, many of whom left their seals of ownership on the painting, and it eventually became a treasured possession of the
1434:(r. 1067–1085). The Palace of Sagacious Contemplation was built for use as a venue for state events and banquets, not for exhibiting works of art, but it is known that Emperor Huizong housed a
4179:
1703:
The "red reed" refers to a writing brush made from a red reed or a red lacquered bamboo tube, which was the traditional instrument of admonition used by the court instructress.
1513:. The whereabouts of the painting during the Yuan dynasty are unknown, and it is not mentioned by any of the art connoisseurs of the period, such as Zhou Mi (周密, 1232–1298) or
3089:
3248:
4317:
472:
dynasty (386–535), and furthermore that the painting was an original commission by Emperor Xiaowen, not a copy of an earlier composition by Gu Kaizhi or anyone else.
342:(司馬金龍, died 484), excavated in 1986, includes a panel illustrating the story of Lady Ban refusing to ride in the imperial litter, which corresponds to Scene 5 of the
1502:
overthrowal of the Southern Song, but if genuine it may only indicate that he was given the scroll by a Mongol prince after the Mongols defeated the Jin in 1234.
277:, or influenced by it. It depicts various "filial sons and virtuous women" in Chinese history; the bottom panel illustrates the story of Lady Ban (Scene 5 of the
2216:
1371:
The final scene shows the Court Instructress writing her admonitions on a scroll, her head bowed in concentration, whilst two court ladies walk towards her.
449:(420–589) during the 6th century, and that although the painting was a copy of a Gu Kaizhi painting, it was heavily influenced by the painting techniques of
399:
as one of nine paintings in the imperial collection by Gu Kaizhi. This imperial authentication of the painting meant that no-one seriously doubted that the
3168:
4184:
3995:
4097:
1160:
whether to enter or not. The body language of the lady, leaning back against the screen in one corner of the bed, is equally lacking in intimacy.
425:
On the other hand, an increasing number of experts have rejected the supposed copyist's errors, and see the painting as a product of the preceding
350:, the painting does indicate that anecdotes recorded in Zhang Hua's text were used as subject matter for artists not long after Gu Kaizhi's death.
2282:
3493:
1734:
introductory scene, as is the case with the Palace Museum copy, and so the British Museum scroll would originally have comprised twelve scenes.
4174:
4355:
3805:
3408:
3188:
1430:), which refers to the East Wing of the Palace of Sagacious Contemplation, which was an imperial palace built in 1075, during the reign of
2717:
Scroll in the British Museum: New Light on the Text-Image Relationships, Painting Style and Dating Problem", in McCausland, Shane (ed.),
2992:
3183:
1720:, who greatly admired Huizong's calligraphy. The text must originally have come from another scroll which was a different size to the
1632:
remained in the imperial palace at Beijing, but when the building in which the "Four Beauties" were housed was in need of repairs the
3878:
3700:
2673:
Display card for the Admonitions Scroll by the digital reproduction on the North Stairs of the British Museum. Accessed 2012-03-25.
357:
may have been commissioned by the Jin dynasty imperial court in order to express the dismay of the court officials to the murder of
4236:
3705:
3366:
3316:
3037:
1669:(1869–1943), recognised the significance of the painting, and in 1903 the British Museum purchased it from Johnson for the sum of
4259:
3720:
1525:
official who served in southern China in the late 13th century and who is known to have had a collection of Chinese calligraphy.
1048:
It is the way that nothing exalted is not cast down low; of living things there are none that having flourished do not fade away.
509:
in Beijing. This monochrome painting on paper is believed to have been copied from the British Museum scroll during the reign of
4279:
4274:
571:
Silk title inscription in Qianlong's calligraphy comprising three large Chinese characters meaning "Fragrance of a red reed" (
4324:
4269:
4200:
4150:
2953:
2928:
2903:
2881:
2863:
2838:
2820:
2774:
2752:
2726:
2704:
1867:
1840:
700:
676:
Scene 6 – a mountain scene which separates the preceding scenes depicting anecdotes from the following scenes of palace life;
529:
The end sections and appended material other than the Zou Yigui painting, 25.0 cm in height and 329.0 cm in length;
505:
In addition to the scroll now held at the British Museum, a copy of the painting made during the Song dynasty is held at the
245:
1724:, as it had to be cut up and reassembled into columns of fewer characters to fit the scroll that it is currently mounted in.
904:, which would have been very different from the immoderate and perhaps immodest musical performances her husband preferred.
1752:
The Palace Museum copy clearly shows a toad in the moon, which follows early Chinese artistic practice (for example on the
3680:
3336:
3888:
3276:
1585:(鄒一桂, 1686–1772). He housed the scroll, together with three other masterpieces attributed to the Northern Song painter
1412:
The earliest seal to be accepted as authentic is a large imperial seal inscribed "Sagacious Contemplation, East Wing" (
802:
When she gets married the girl arranges her robes and ties up her apron; respectfully she prepares the household meals.
156:. 406), but which modern scholarship regards as a 5th to 8th century work that may or may not be a copy of an original
464:, who argues on the basis of artistic style and calligraphy that the painting must have been produced at the court of
3263:
692:
3873:
3588:
673:
Scenes 2–5 – four scenes illustrating stories about the exemplary behaviour of famous palace ladies from history;
4115:
3863:
887:
They had strict aspirations and a lofty sense of righteousness, and so the two lords undertook a change of heart.
547:
by Zou Yigui (1686–1772), commissioned by Qianlong, which used to be the final element of the Admonitions Scroll.
465:
426:
87:
1694:
A spurious signature was added in the late Ming dynasty, probably by its then owner, Xiang Yuanbian (1525–1590).
3060:
1517:(1254–1322). The only clue to its possible ownership at this time is a seal on the painting inscribed "Ali" in
568:
from an early wrapper to the scroll (possibly from a mounting of the painting made for Emperor Huizong of Song)
4246:
3291:
4231:
1532:(1368–1644), when it was probably in the ownership of the officials Wang Ao (王鏊, 1450–1524) and subsequently
1405:), which has been interpreted as referring to the Office for the Dissemination of Culture (弘文館), part of the
3715:
3331:
3198:
3193:
3030:
989:
Lady Ban voiced her refusal, and thereby cut herself off from the joys of riding together in the palanquin.
2997:
1807:
1569:
Section of the scroll showing a drawing of an orchid and accompanying inscription by the Qianlong Emperor.
1076:) to its left, covered with birds and animals, and with a hunter taking aim at a tiger with his crossbow.
601:
Silk end section with a number of seal impressions (possibly from a Song dynasty mounting of the painting)
592:
Silk end section with a number of seal impressions (possibly from a Song dynasty mounting of the painting)
4189:
3903:
3458:
3387:
3371:
3070:
1470:
477:
4328:
3006:
2278:
604:
Painting of an orchid by Qianlong on a piece of yellow silk from a Song dynasty mounting of the painting
4360:
4264:
3233:
1536:(1481–1568). After the political downfall of Yan Song in 1562, his collection was confiscated, and the
1058:
Esteem and honour are as perilous as a pile of dust, decline and fall are as sudden as a crossbow shot.
415:
4251:
3939:
290:
274:
157:
1545:(項元汴, 1525–1590), who marked his ownership of the painting with about fifty seal stamps. Whilst the
1479:
1073:
225:
4157:
4129:
3538:
3306:
2937:
2217:"Nushi zhen (Admonitions of the Instructress of the Ladies in the Palace) / The Admonitions Scroll"
1717:
1491:
1483:
1431:
1380:
608:
510:
460:–540) and Lu Tanwei. A somewhat different hypothesis has been advanced by Yang Xin, a professor at
204:
4108:
1333:
Therefore I say: Be cautious and circumspect in all you do, and from this good fortune will arise.
4299:
4005:
3950:
3933:
3668:
3663:
3321:
3286:
3023:
1713:
1466:
1113:
If one's nature is not ornamented, rites and proper behaviour will become confused and erroneous.
392:
208:
3985:
3913:
3658:
3653:
3376:
1205:
Do not think they are dim and dark, for the spiritual looks down on that which casts no shadow.
650:
2253:
1857:
1830:
4365:
3960:
3818:
3795:
3730:
3548:
3152:
3129:
1649:
1108:
All people know how to ornament their appearance, but none know how to ornament their nature.
956:
526:
The nine scenes of the original painting, 25.0 cm in height and 348.5 cm in length;
358:
2829:
Murray, Julia K. (2003), "Who Was Zhang Hua's 'Instructress'?", in McCausland, Shane (ed.),
1154:
If you offend against this principle, then even your bedfellow will view you with suspicion.
882:
The lady from Wei, in order to reform Duke Huan, made her ears forget the harmonious sounds.
330:
It is not known when the first painting in illustration to Zhang Hua's text was made, but a
4143:
4065:
4015:
3923:
3361:
3119:
2812:
2744:
2696:
1633:
1004:
438:
257:
994:
How could she have not minded? But to avoid the slightest suspicion she kept her distance.
8:
4136:
4035:
3813:
3685:
3613:
3533:
3478:
3178:
3158:
1518:
1379:
The early history of the painting is unknown, and it is not until the latter part of the
951:
941:
How could she have been without fear? She knew she might be killed, yet she did not care.
912:
865:
830:
717:
682:
Scene 12 – a concluding scene that shows the Court Instructress writing her admonitions.
493:
320:
220:
189:
128:
960:, thus indicating that the artist did not base the painting solely on Zhang Hua's text.
792:
A woman's virtue values gentleness; she conceals beauty within, and is pure and perfect.
686:
The corresponding quotation from Zhang Hua's text is placed to the right of each scene.
539:
414:(581–618) or early Tang dynasty. A supporter of this point of view is Chen Pao-chen of
4337:
4226:
4087:
4082:
3975:
3965:
3758:
3710:
3648:
3633:
3573:
3563:
3508:
3468:
3453:
3393:
3134:
3124:
1675:
1654:
850:
446:
324:
2919:
Scroll Revisited: Iconology, Narratology, Style, Dating", in McCausland, Shane (ed.),
2894:
Scroll: A Study of its Mounting, Seals and Inscriptions", in McCausland, Shane (ed.),
1640:
ruler of China from 1861 to 1908) ordered the four paintings to be transferred to the
1210:
Do not think they are empty and silent, for the divine hears that which make no sound.
1080:
on landscape painting over figure painting by Ming and Qing dynasty art connoisseurs.
782:
Thus began the relationship of husband and wife, as well as that of lord and minister.
595:
Yellow silk with a drawing of an orchid and accompanying inscription, both by Qianlong
4071:
4060:
3893:
3785:
3735:
3543:
3523:
3513:
3438:
3326:
3281:
3243:
3146:
3140:
3065:
2975:
2949:
2924:
2899:
2877:
2859:
2852:
2834:
2816:
2796:
2770:
2748:
2722:
2700:
1863:
1836:
1565:
1338:
Calmly and respectfully think about your actions, and honour and fame will await you.
1065:
947:
461:
406:
The first suggestion that the painting was not an original Gu Kaizhi painting, but a
3618:
1454:
temporarily looked after by palace staff as well as by emperors and their consorts.
1215:
Do not be proud of your honours, for the way of heaven abhors that which is replete.
607:
Transcription of the text on silk of the last two admonitions in the calligraphy of
4050:
3898:
3853:
3753:
3748:
3725:
3675:
3593:
3518:
3428:
3423:
3213:
2847:
1608:
1590:
1578:
1469:(r. 1126–1127) were taken prisoner, and the north of China was subsumed within the
1413:
1388:
1008:
572:
302:
212:
184:). It was painted to illustrate a poetic text written in 292 by the poet-official
167:
141:
1282:
Prejudice results in disdain; if love is taken to the extreme then it will change.
1220:
Do not rely on your nobility, for he who reaches to the highest heights must fall.
1149:
If the words you utter are good, people will respond from a thousand leagues away.
1053:
When the sun is at its highest it sinks; when the moon is at its fullest it wanes.
3970:
3955:
3928:
3908:
3780:
3763:
3638:
3578:
3568:
3528:
3488:
3433:
3418:
3346:
3301:
3208:
1666:
1645:
1366:
The instructress in charge of admonitions boldly speaks to all the palace ladies.
893:
854:
361:(r. 372–396) by his consort, Lady Zhang (張貴人), who was never brought to justice.
216:
4194:
4045:
4040:
4025:
3980:
3918:
3848:
3838:
3740:
3603:
3503:
3483:
3381:
3296:
3253:
3223:
3046:
2220:
1670:
1542:
1462:
1406:
614:
506:
346:. Although the text accompanying the lacquer painting is not from Zhang Hua's
262:
229:
196:
109:
1352:
1316:
1248:
4349:
4010:
3945:
3883:
3868:
3823:
3773:
3695:
3690:
3623:
3558:
3553:
3463:
3443:
3238:
3228:
3114:
3109:
2979:
2800:
1662:
1641:
1522:
1499:
1287:
When something reaches fullness it must decline; this principle is immutable.
1231:
1168:
1132:
1088:
1028:
972:
919:
813:
532:
The painting by Zou Yigui, 24.8 cm in height and 74.0 cm in length.
498:
450:
3628:
1528:
The exact ownership of the scroll remains uncertain until the middle of the
1297:
Wearing thick make-up in order to please, this is what a gentleman despises.
536:
The makeup of the scroll before it was remounted by the British Museum was:
4241:
4221:
4077:
3768:
3643:
3608:
3598:
3473:
3448:
3341:
1551:
1529:
1506:
1440:
1435:
1384:
967:
756:
469:
407:
371:
339:
335:
327:(r. 290–301), whose violent and immoral behaviour was outraging the court.
289:
was painted to illustrate an eighty-line poetic text written in 292 by the
270:
266:
91:
1716:, but recent scholarship ascribes it to Emperor Huizong's great-grandson,
807:
Solemn and dignified in bearing, with pure virtue she gazes up reverently.
797:
Gentle and meek, virtuous and careful, her proper place is in the chamber.
787:
The way of the household is regulated, the plans of the ruler are ordered.
4020:
3858:
3833:
3828:
3498:
3398:
3311:
3218:
3203:
3104:
1657:, who was stationed at the Summer Palace, somehow managed to acquire the
1514:
1069:
1000:
704:
441:, who has argued that the scroll was made by an anonymous painter at the
411:
240:
2872:
Spiro, Audrey (2003), "Creating Ancestors", in McCausland, Shane (ed.),
2687:
Barnhart, Richard M. (2003), "Concerning the Date and Authorship of the
844:
Lady Fan, in order to move King Zhuang, would eat neither fish nor fowl.
4055:
4030:
3843:
3790:
3583:
3351:
1586:
1445:
1118:
Chop it and embellish it; overcome your thoughts to make yourself holy.
557:
3356:
3099:
2739:
Scroll: The Qianlong Reign (1736–1795)", in McCausland, Shane (ed.),
1753:
1582:
1495:
1387:
imperial collection is an impression reading "Seal of the Hongwen " (
1017:
897:
628:
565:
294:
185:
145:
39:
936:
When a black bear climbed out of its cage, Lady Feng rushed forward.
1533:
1292:
The beauty who thinks she is beautiful is quickly found fault with.
901:
434:
2944:
Scroll Based on Landscape Portrayal", in McCausland, Shane (ed.),
1486:(r. 1162–1189). On the other hand, one of the end sections of the
892:
This scene illustrates the story of the Lady of Wei, a consort of
395:(r. 1100–1126) that was compiled in 1120. The manual records the
3015:
2912:
1808:"BBC – A History of the World – Object : Admonitions Scroll"
1458:
598:
Nine scenes of the original silk painting attributed to Gu Kaizhi
442:
331:
233:
1743:
These quotes are from the transcript of the BBC radio broadcast.
679:
Scenes 7–11 – five scenes that follow the life of a palace lady;
4122:
1616:
1598:
1421:
1396:
1225:
Model yourself on the lesser stars, which avoid travelling far.
580:
310:
200:
175:
1589:(1049–1106), which he collectively named the "Four Beauties" (
2809:
First Masterpiece of Chinese Painting: The Admonitions Scroll
1311:
774:
561:
375:
1607:), in his private residence, the Pavilion of Tranquil Ease (
1277:
Happiness cannot be defiled, affection cannot be prejudiced.
2279:"A History of the World – Transcripts – Admonitions Scroll"
849:
This scene illustrates the story of Lady Fan, a consort of
1200:
Words are so subtle, yet glory and shame result from them.
1302:
Breaking the bond of favour mainly comes about from this.
653:
The extant nine scenes of the British Museum copy of the
391:, which is a catalogue of paintings in the collection of
160:
court painting by Gu. The full title of the painting is
44:
Final scene of the scroll, showing the Court Instructress
2119:
2117:
2115:
2113:
968:
Scene 5: Lady Ban refuses to ride in the imperial litter
666:
The twelve scenes of the scroll are ordered as follows:
765:
273:
styles, it was probably imported from the court of the
2765:
and Chinese Art History", in McCausland, Shane (ed.),
2537:
2535:
2533:
2531:
215:(r. 1735–1796). In 1899, during the aftermath of the
188:(232–300). The text itself was composed to reprimand
2482:
2480:
2182:
2180:
2110:
2100:
2098:
1917:
1915:
1438:
stone engraving of the calligraphic masterpiece, the
2528:
1023:
433:An advocate of a pre-Tang date for the painting is
299:
Admonitions of the Instructress to the Court Ladies
2851:
2735:Cura, Nixi (2003), "A 'Cultural Biography' of the
2477:
2177:
2095:
1912:
1505:After the fall of the Southern Song to the Mongol
1064:pile of dust) set between the sun (inhabited by a
907:
3249:Amun in the form of a ram protecting King Taharqa
1068:) to its right and the full moon (inhabited by a
657:, Scene 4 at the right, and Scene 12 at the left.
228:(1127–1279), and is now in the collection of the
219:, the painting was acquired by an officer in the
4347:
2783:Mason, Charles (June 2001), "The British Museum
1712:The calligraphy was traditionally attributed to
1243:
857:standing conspicuously empty and unused nearby.
1790:
1788:
1786:
437:, emeritus professor of Chinese art history at
1083:
768:and flowing substance were moulded and shaped.
553:(顧愷之畫女史箴並書真蹟,內府珍玩神品) in Qianlong's calligraphy
3031:
1347:
1127:
207:(960–1127), when it was in the collection of
2993:The Admonitions Scroll in the British Museum
2846:
1783:
1777:
1163:
403:was a work by Gu Kaizhi until modern times.
1862:. Metropolitan Museum of Art. p. 159.
1835:. Yale University Press. pp. 295–296.
860:
3184:Colossal quartzite statue of Amenhotep III
3038:
3024:
2898:, British Museum Press, pp. 192–218,
2833:, British Museum Press, pp. 100–107,
2806:
2721:, British Museum Press, pp. 126–137,
2661:
2649:
2637:
2601:
2589:
2577:
2565:
2541:
2522:
2510:
2486:
2471:
2459:
2447:
2435:
2423:
2411:
2399:
2387:
2375:
2351:
2327:
2315:
2303:
2186:
2159:
2147:
2123:
2104:
2029:
2017:
1981:
1945:
1933:
1921:
1906:
1894:
1882:
1312:Scene 11: A lady reflects upon her conduct
338:dynasty (386–535) official by the name of
144:on silk that is traditionally ascribed to
3879:Kition Necropolis Phoenician inscriptions
2858:, Pelican History of Art (3rd ed.),
2691:Handscroll", in McCausland, Shane (ed.),
1498:(1213–1275), who was instrumental in the
1007:(r. 33–7 BC), who refused to ride in the
3367:Percival David Foundation of Chinese Art
3317:Dhaneswar Khera Buddha image inscription
2948:, British Museum Press, pp. 42–52,
2923:, British Museum Press, pp. 89–99,
2876:, British Museum Press, pp. 53–84,
2769:, British Museum Press, pp. 18–40,
2761:Fong, Wen C. (2003), "Introduction: The
2686:
2271:
1969:
1564:
1457:In 1127 the capital of the Song empire,
712:
538:
492:
364:
353:It has been suggested that the original
256:
3721:Sarcophagus of Seianti Hanunia Tlesnasa
2667:
1859:China: Dawn of a Golden Age, 200-750 AD
1648:broke out, and the following summer an
516:
195:The painting, which is now held at the
16:Chinese narrative painting by Gu Kaizhi
4348:
4275:Royal Commission on the British Museum
2828:
2171:
1644:to the west of the city. In 1899 the
777:, heaven and human were first divided.
4325:A History of the World in 100 Objects
4201:A History of the World in 100 Objects
3019:
3009:A history of the World in 100 Objects
3000:A history of the World in 100 Objects
2871:
2782:
2211:
2209:
2207:
2041:
1794:
701:A History of the World in 100 Objects
631:(1686–1772), commissioned by Qianlong
488:
246:A History of the World in 100 Objects
163:Admonitions of the Court Instructress
32:Admonitions of the Court Instructress
4180:Conservation and Scientific Research
2946:Gu Kaizhi and the Admonitions Scroll
2936:
2921:Gu Kaizhi and the Admonitions Scroll
2896:Gu Kaizhi and the Admonitions Scroll
2889:
2874:Gu Kaizhi and the Admonitions Scroll
2831:Gu Kaizhi and the Admonitions Scroll
2767:Gu Kaizhi and the Admonitions Scroll
2760:
2741:Gu Kaizhi and the Admonitions Scroll
2734:
2719:Gu Kaizhi and the Admonitions Scroll
2712:
2693:Gu Kaizhi and the Admonitions Scroll
2625:
2613:
2553:
2498:
2363:
2339:
2285:from the original on 2 November 2010
2240:
2198:
2077:
2053:
2005:
1993:
1957:
1855:
1828:
1681:
999:This scene illustrates the story of
946:This scene illustrates the story of
825:
4356:Asian objects in the British Museum
2890:Wang, Yao-ting (2003), "Beyond the
334:screen painting from the tomb of a
13:
3045:
2961:
2911:
2204:
2135:
2089:
2065:
1829:Dien, Albert E. (1 January 2007).
1764:
1351:
1315:
1247:
1167:
1131:
1087:
1027:
971:
918:
911:
864:
829:
755:In the boundlessness of creation,
716:
239:The painting was part of the 2010
14:
4377:
4190:Portable Antiquities and Treasure
2986:
2854:The Art and Architecture of China
1234:, and thereby multiply your kind.
620:Long colophon on silk by Qianlong
501:version of the Admonitions Scroll
61:Length: 329 cm (130 in)
4295:
4294:
4237:Films shot at the British Museum
3874:Black Obelisk of Shalmaneser III
3589:Herculean Sarcophagus of Genzano
3277:Aphsad inscription of Ādityasena
1665:(1845–1927), and his assistant,
1628:After the death of Qianlong the
1024:Scene 6: The mountain and hunter
670:Scene 1 – an introductory scene;
642:
378:(1051–1107), who records in his
297:(232–300). Zhang Hua wrote his
63:Height: 25 cm (9.8 in)
38:
2787:Scroll: A Cultural Biography",
2655:
2643:
2631:
2619:
2607:
2595:
2583:
2571:
2559:
2547:
2516:
2504:
2492:
2465:
2453:
2441:
2429:
2417:
2405:
2393:
2381:
2369:
2357:
2345:
2333:
2321:
2309:
2297:
2246:
2234:
2192:
2165:
2153:
2141:
2129:
2083:
2071:
2059:
2047:
2035:
2023:
2011:
1999:
1987:
1975:
1963:
1951:
1939:
1927:
1746:
1737:
1727:
1706:
1697:
908:Scene 4: Lady Feng and the bear
427:Southern and Northern dynasties
88:Southern and Northern dynasties
4151:The Tale of the Flopsy Bunnies
3189:Colossal head of Amenhotep III
1900:
1888:
1876:
1849:
1822:
1800:
1771:
1688:
1621:
1603:
1573:After the death of An Qi, the
1465:, Emperor Huizong and his son
1426:
1401:
812:The introductory scene in the
635:
585:
387:to the painting occurs in the
319:) as a didactic text aimed at
315:
180:
1:
3701:Priene dedicatory inscription
2680:
1577:passed into the hands of the
1556:
1521:, which may be the name of a
1244:Scene 10: The rejection scene
1230:Keep your heart close to the
625:Pine, Bamboo, Rock and Spring
545:Pine, Bamboo, Rock and Spring
454:
252:
3889:Complaint tablet to Ea-nāṣir
3864:Tell al-'Ubaid Copper Lintel
3332:Jade terrapin from Allahabad
3199:Gebelein predynastic mummies
3194:El-Amra clay model of cattle
2713:Chen, Pao-chen (2003), "The
2201:, pp. 201, 204, 211–212
7:
3904:Babylonian Map of the World
3459:Barber Cup and Crawford Cup
3388:The Great Wave off Kanagawa
3372:Seated Buddha from Gandhara
3292:Amitābha Buddha from Hancui
3002:, No. 39 Admonitions Scroll
2850:; Soper, Alexander (1971),
1084:Scene 7: The toilette scene
10:
4382:
3234:Rhind Mathematical Papyrus
2962:Yu, Hui (June 2001), "The
2807:McCausland, Shane (2003),
1856:Watt, James C. Y. (2004).
1832:Six Dynasties Civilization
1541:collector and pawnbroker,
1374:
1348:Scene 12: The instructress
1128:Scene 8: The bedroom scene
623:Painting on silk entitled
416:National Taiwan University
142:Chinese narrative painting
4333:
4322:
4313:
4290:
4214:
4167:
4096:
3994:
3940:Lion Hunt of Ashurbanipal
3804:
3716:Sant'Angelo Muxaro Patera
3407:
3262:
3167:
3088:
3079:
3053:
2966:Scroll: A Song Version",
2281:. BBC. 4 September 2008.
1612:
1594:
1417:
1392:
1164:Scene 9: The family scene
1020:(45 BC – 23 AD) in 9 AD.
957:History of the Latter Han
576:
382:(compiled 1103) that the
306:
171:
124:
116:
105:
97:
83:
75:
67:
57:
49:
37:
23:
4318:Ceremonial ballgame belt
4247:Repatriation controversy
3924:Flood tablet (Gilgamesh)
3706:Priene edict inscription
3539:Choiseul-Gouffier Apollo
3307:Mogao Christian painting
2940:(2003), "A Study of the
2254:"The Admonitions Scroll"
1778:Sickman & Soper 1971
1718:Emperor Zhangzong of Jin
1550:the late Ming and early
1492:Emperor Zhangzong of Jin
1484:Emperor Xiaozong of Song
1473:. What happened to the
1432:Emperor Shenzong of Song
861:Scene 3: The Lady of Wei
609:Emperor Zhangzong of Jin
511:Emperor Xiaozong of Song
4232:Dingwall Beloe Lectures
3934:Library of Ashurbanipal
3322:Hephthalite silver bowl
3287:Ambika Statue from Dhar
1714:Emperor Huizong of Song
1471:Jin dynasty (1115–1234)
1467:Emperor Qinzong of Song
1441:Orchid Pavilion Preface
773:At the time of Emperor
695:at the British Museum)
393:Emperor Huizong of Song
269:, 484 CE. Untypical of
209:Emperor Huizong of Song
4185:Libraries and Archives
3986:Phoenician metal bowls
3914:Cylinders of Nabonidus
3377:Stamp seal (BM 119999)
2258:University of Virginia
1570:
1490:incorporates seals of
1356:
1320:
1252:
1172:
1136:
1092:
1032:
976:
923:
916:
869:
834:
721:
710:
548:
502:
389:Xuanhe Painting Manual
323:(257–300), consort of
282:
3961:Babylonian Chronicles
3819:Assyrian lion weights
3796:Xanten Horse-Phalerae
3731:Stony Stratford Hoard
3649:Papyri of Oxyrhynchus
3549:Dionysus Sardanapalus
3494:Bronze head of Hypnos
3130:Double-headed serpent
1568:
1355:
1319:
1251:
1171:
1135:
1091:
1031:
975:
922:
915:
868:
833:
720:
713:Scene 1: Introduction
688:
542:
496:
365:Authorship and dating
359:Emperor Xiaowu of Jin
260:
158:Jin dynasty (266–420)
4144:The Disasters of War
4066:Sutton Hoo purse-lid
4016:Holy Thorn Reliquary
3362:Mathura lion capital
3120:Bronze Head from Ife
2813:British Museum Press
2747:, pp. 260–276,
2745:British Museum Press
2697:British Museum Press
1634:Empress Dowager Cixi
1461:, was sacked by the
1005:Emperor Cheng of Han
759:first separated out.
613:Colophon on silk by
517:Makeup of the scroll
468:(r. 471–499) of the
445:court of one of the
439:Princeton University
4227:British Museum Acts
4137:The Ancient of Days
4036:Mildenhall Treasure
3814:Ain Sakhri figurine
3745:Townley collection
3686:Petelia Gold Tablet
3614:Macmillan aryballos
3534:Chatuzange Treasure
3479:Boscoreale Treasure
3179:Battlefield Palette
3159:Yaxchilan Lintel 24
1650:international force
952:Emperor Yuan of Han
855:ritual food vessels
560:with a design of a
380:History of Painting
370:painting is by the
221:British Indian Army
4338:Empress pepper pot
4109:Dürer's Rhinoceros
4088:Lampsacus Treasure
4083:Vindolanda Tablets
3976:Antiochus cylinder
3966:Ur Box inscription
3711:San Sosti Axe-Head
3634:Minoan Bull-leaper
3574:Farnese Diadumenos
3564:Esquiline Treasure
3509:Campo Iemini Venus
3469:Beaurains Treasure
3454:Asclepius of Milos
3394:Vishnu Nicolo Seal
3337:Kakiemon elephants
3272:Admonitions Scroll
3125:Codex Kingsborough
3071:Round Reading Room
2763:Admonitions Scroll
2699:, pp. 85–88,
2664:, pp. 119–120
2640:, pp. 118–119
2592:, pp. 108–109
2342:, pp. 126–127
2162:, pp. 111–115
1960:, pp. 132–134
1722:Admonitions Scroll
1676:Urushibara Mokuchu
1659:Admonitions Scroll
1655:1st Bengal Lancers
1630:Admonitions Scroll
1575:Admonitions Scroll
1571:
1547:Admonitions Scroll
1538:Admonitions Scroll
1511:Admonitions Scroll
1488:Admonitions Scroll
1475:Admonitions Scroll
1451:Admonitions Scroll
1357:
1321:
1253:
1173:
1137:
1093:
1033:
1014:Admonitions Scroll
977:
924:
917:
870:
851:King Zhuang of Chu
835:
722:
693:Department of Asia
655:Admonitions Scroll
549:
543:Painting entitled
503:
489:Palace Museum copy
482:Admonitions Scroll
447:Southern dynasties
420:Admonitions Scroll
401:Admonitions Scroll
397:Admonitions Scroll
384:Admonitions Scroll
374:painter and poet,
355:Admonitions Scroll
344:Admonitions Scroll
325:Emperor Hui of Jin
287:Admonitions Scroll
283:
279:Admonitions Scroll
138:Admonitions Scroll
79:5th to 8th century
4361:Chinese paintings
4344:
4343:
4334:Succeeded by
4308:
4307:
4210:
4209:
4072:Swimming Reindeer
4061:Sutton Hoo helmet
3894:Tablet of Shamash
3786:Vaison Diadumenos
3736:Strangford Apollo
3544:Demeter of Knidos
3524:Chaourse Treasure
3514:Carthage Treasure
3439:Arcisate Treasure
3327:Huixian Bronze Hu
3282:Amaravati Marbles
3244:Sphinx of Taharqo
3147:Kayung totem pole
3141:Throne of Weapons
2955:978-0-7141-2414-8
2930:978-0-7141-2414-8
2905:978-0-7141-2414-8
2883:978-0-7141-2414-8
2865:978-0-14-056110-4
2848:Sickman, Laurence
2840:978-0-7141-2414-8
2822:978-0-7141-2417-9
2776:978-0-7141-2414-8
2754:978-0-7141-2414-8
2728:978-0-7141-2414-8
2706:978-0-7141-2414-8
1869:978-1-58839-126-1
1842:978-0-300-07404-8
1682:Explanatory notes
1066:Three-legged crow
826:Scene 2: Lady Fan
497:A scene from the
462:Peking University
265:from the tomb of
134:
133:
4373:
4314:Preceded by
4311:
4310:
4298:
4297:
4175:Coins and Medals
4051:Seax of Beagnoth
3899:Statue of Idrimi
3854:Ram in a Thicket
3726:Satala Aphrodite
3676:Paramythia Hoard
3519:Caubiac Treasure
3429:Apollo of Cyrene
3424:Aineta aryballos
3214:MacGregor plaque
3086:
3085:
3040:
3033:
3026:
3017:
3016:
2982:
2958:
2933:
2908:
2886:
2868:
2857:
2843:
2825:
2803:
2779:
2757:
2731:
2709:
2674:
2671:
2665:
2659:
2653:
2647:
2641:
2635:
2629:
2623:
2617:
2611:
2605:
2599:
2593:
2587:
2581:
2575:
2569:
2563:
2557:
2551:
2545:
2539:
2526:
2520:
2514:
2508:
2502:
2496:
2490:
2484:
2475:
2474:, pp. 79–80
2469:
2463:
2457:
2451:
2445:
2439:
2438:, pp. 72–73
2433:
2427:
2421:
2415:
2414:, pp. 64–65
2409:
2403:
2402:, pp. 60–61
2397:
2391:
2385:
2379:
2373:
2367:
2361:
2355:
2349:
2343:
2337:
2331:
2330:, pp. 48–49
2325:
2319:
2313:
2307:
2301:
2295:
2294:
2292:
2290:
2275:
2269:
2268:
2266:
2264:
2250:
2244:
2238:
2232:
2231:
2229:
2227:
2213:
2202:
2196:
2190:
2184:
2175:
2169:
2163:
2157:
2151:
2145:
2139:
2133:
2127:
2126:, pp. 40–41
2121:
2108:
2102:
2093:
2087:
2081:
2080:, pp. 50–51
2075:
2069:
2068:, pp. 98–99
2063:
2057:
2056:, pp. 25–26
2051:
2045:
2039:
2033:
2027:
2021:
2015:
2009:
2008:, pp. 48–52
2003:
1997:
1996:, pp. 23–36
1991:
1985:
1984:, pp. 57–58
1979:
1973:
1967:
1961:
1955:
1949:
1948:, pp. 10–12
1943:
1937:
1931:
1925:
1919:
1910:
1904:
1898:
1892:
1886:
1880:
1874:
1873:
1853:
1847:
1846:
1826:
1820:
1819:
1817:
1815:
1804:
1798:
1792:
1781:
1775:
1758:
1750:
1744:
1741:
1735:
1731:
1725:
1710:
1704:
1701:
1695:
1692:
1623:
1614:
1605:
1596:
1579:Qianlong Emperor
1561:
1558:
1519:'Phags-pa script
1428:
1419:
1403:
1394:
708:
646:
587:
578:
459:
456:
317:
308:
213:Qianlong Emperor
182:
173:
106:Present location
42:
29:
21:
20:
4381:
4380:
4376:
4375:
4374:
4372:
4371:
4370:
4346:
4345:
4340:
4327:
4320:
4309:
4304:
4286:
4206:
4163:
4099:
4092:
3997:
3990:
3971:Kurkh Monoliths
3956:Lachish reliefs
3929:Jar of Xerxes I
3909:Rassam cylinder
3800:
3781:Uerdingen Hoard
3639:Nereid Monument
3579:Guilford Puteal
3569:Euphorbos plate
3529:Chatsworth Head
3489:Braganza Brooch
3434:Archangel ivory
3419:Aegina Treasure
3410:
3403:
3347:Kanishka casket
3302:Buddhapad Hoard
3258:
3209:Hunters Palette
3170:
3163:
3135:Hoa Hakananai'a
3091:
3090:Africa, Oceania
3081:
3075:
3049:
3044:
2989:
2956:
2931:
2906:
2884:
2866:
2841:
2823:
2777:
2755:
2729:
2707:
2683:
2678:
2677:
2672:
2668:
2662:McCausland 2003
2660:
2656:
2650:McCausland 2003
2648:
2644:
2638:McCausland 2003
2636:
2632:
2624:
2620:
2612:
2608:
2602:McCausland 2003
2600:
2596:
2590:McCausland 2003
2588:
2584:
2578:McCausland 2003
2576:
2572:
2566:McCausland 2003
2564:
2560:
2552:
2548:
2542:McCausland 2003
2540:
2529:
2523:McCausland 2003
2521:
2517:
2511:McCausland 2003
2509:
2505:
2497:
2493:
2487:McCausland 2003
2485:
2478:
2472:McCausland 2003
2470:
2466:
2460:McCausland 2003
2458:
2454:
2448:McCausland 2003
2446:
2442:
2436:McCausland 2003
2434:
2430:
2424:McCausland 2003
2422:
2418:
2412:McCausland 2003
2410:
2406:
2400:McCausland 2003
2398:
2394:
2388:McCausland 2003
2386:
2382:
2376:McCausland 2003
2374:
2370:
2362:
2358:
2352:McCausland 2003
2350:
2346:
2338:
2334:
2328:McCausland 2003
2326:
2322:
2316:McCausland 2003
2314:
2310:
2304:McCausland 2003
2302:
2298:
2288:
2286:
2277:
2276:
2272:
2262:
2260:
2252:
2251:
2247:
2239:
2235:
2225:
2223:
2215:
2214:
2205:
2197:
2193:
2187:McCausland 2003
2185:
2178:
2170:
2166:
2160:McCausland 2003
2158:
2154:
2148:McCausland 2003
2146:
2142:
2134:
2130:
2124:McCausland 2003
2122:
2111:
2105:McCausland 2003
2103:
2096:
2088:
2084:
2076:
2072:
2064:
2060:
2052:
2048:
2040:
2036:
2030:McCausland 2003
2028:
2024:
2018:McCausland 2003
2016:
2012:
2004:
2000:
1992:
1988:
1982:McCausland 2003
1980:
1976:
1968:
1964:
1956:
1952:
1946:McCausland 2003
1944:
1940:
1934:McCausland 2003
1932:
1928:
1922:McCausland 2003
1920:
1913:
1907:McCausland 2003
1905:
1901:
1895:McCausland 2003
1893:
1889:
1883:McCausland 2003
1881:
1877:
1870:
1854:
1850:
1843:
1827:
1823:
1813:
1811:
1806:
1805:
1801:
1793:
1784:
1776:
1772:
1767:
1765:Reference notes
1762:
1761:
1751:
1747:
1742:
1738:
1732:
1728:
1711:
1707:
1702:
1698:
1693:
1689:
1684:
1667:Laurence Binyon
1646:Boxer Rebellion
1559:
1402:hóngwén zhī yìn
1377:
1350:
1314:
1246:
1166:
1130:
1086:
1026:
970:
950:, a consort of
910:
894:Duke Huan of Qi
863:
828:
715:
709:
699:
660:
659:
658:
652:
647:
638:
519:
491:
466:Emperor Xiaowen
457:
367:
255:
217:Boxer Rebellion
62:
45:
30:
27:
17:
12:
11:
5:
4379:
4369:
4368:
4363:
4358:
4342:
4341:
4335:
4332:
4321:
4315:
4306:
4305:
4303:
4302:
4291:
4288:
4287:
4285:
4284:
4283:
4282:
4277:
4272:
4267:
4262:
4254:
4249:
4244:
4239:
4234:
4229:
4224:
4218:
4216:
4212:
4211:
4208:
4207:
4205:
4204:
4197:
4195:Rondanini Faun
4192:
4187:
4182:
4177:
4171:
4169:
4165:
4164:
4162:
4161:
4158:Triumphal Arch
4154:
4147:
4140:
4133:
4130:Isabella Brant
4126:
4119:
4112:
4104:
4102:
4094:
4093:
4091:
4090:
4085:
4080:
4075:
4068:
4063:
4058:
4053:
4048:
4046:Royal Gold Cup
4043:
4041:Ringlemere Cup
4038:
4033:
4028:
4026:Lewis chessmen
4023:
4018:
4013:
4008:
4002:
4000:
3992:
3991:
3989:
3988:
3983:
3981:Nimrud ivories
3978:
3973:
3968:
3963:
3958:
3953:
3948:
3943:
3936:
3931:
3926:
3921:
3919:Cyrus Cylinder
3916:
3911:
3906:
3901:
3896:
3891:
3886:
3881:
3876:
3871:
3866:
3861:
3856:
3851:
3849:Standard of Ur
3846:
3841:
3839:Blau Monuments
3836:
3831:
3826:
3821:
3816:
3810:
3808:
3802:
3801:
3799:
3798:
3793:
3788:
3783:
3778:
3777:
3776:
3771:
3766:
3761:
3756:
3751:
3743:
3741:Tomb of Payava
3738:
3733:
3728:
3723:
3718:
3713:
3708:
3703:
3698:
3693:
3688:
3683:
3678:
3673:
3672:
3671:
3666:
3661:
3656:
3646:
3641:
3636:
3631:
3626:
3621:
3619:Mâcon Treasure
3616:
3611:
3606:
3604:Lion of Knidos
3601:
3596:
3591:
3586:
3581:
3576:
3571:
3566:
3561:
3556:
3551:
3546:
3541:
3536:
3531:
3526:
3521:
3516:
3511:
3506:
3504:Bursa Treasure
3501:
3496:
3491:
3486:
3484:Boy with Thorn
3481:
3476:
3471:
3466:
3461:
3456:
3451:
3446:
3441:
3436:
3431:
3426:
3421:
3415:
3413:
3405:
3404:
3402:
3401:
3396:
3391:
3384:
3382:Statue of Tara
3379:
3374:
3369:
3364:
3359:
3354:
3349:
3344:
3339:
3334:
3329:
3324:
3319:
3314:
3309:
3304:
3299:
3297:Bimaran casket
3294:
3289:
3284:
3279:
3274:
3268:
3266:
3260:
3259:
3257:
3256:
3254:Younger Memnon
3251:
3246:
3241:
3236:
3231:
3226:
3224:Papyrus of Ani
3221:
3216:
3211:
3206:
3201:
3196:
3191:
3186:
3181:
3175:
3173:
3165:
3164:
3162:
3161:
3156:
3149:
3144:
3137:
3132:
3127:
3122:
3117:
3112:
3107:
3102:
3096:
3094:
3083:
3077:
3076:
3074:
3073:
3068:
3066:King's Library
3063:
3057:
3055:
3051:
3050:
3047:British Museum
3043:
3042:
3035:
3028:
3020:
3014:
3013:
3007:Transcript of
3004:
2995:
2988:
2987:External links
2985:
2984:
2983:
2959:
2954:
2934:
2929:
2909:
2904:
2887:
2882:
2869:
2864:
2844:
2839:
2826:
2821:
2804:
2780:
2775:
2758:
2753:
2732:
2727:
2710:
2705:
2682:
2679:
2676:
2675:
2666:
2654:
2642:
2630:
2618:
2606:
2594:
2582:
2570:
2558:
2546:
2527:
2515:
2503:
2491:
2476:
2464:
2452:
2440:
2428:
2416:
2404:
2392:
2380:
2368:
2356:
2344:
2332:
2320:
2308:
2296:
2270:
2245:
2233:
2221:British Museum
2203:
2191:
2176:
2164:
2152:
2140:
2128:
2109:
2094:
2082:
2070:
2058:
2046:
2034:
2022:
2010:
1998:
1986:
1974:
1962:
1950:
1938:
1926:
1911:
1899:
1887:
1875:
1868:
1848:
1841:
1821:
1799:
1782:
1769:
1768:
1766:
1763:
1760:
1759:
1745:
1736:
1726:
1705:
1696:
1686:
1685:
1683:
1680:
1543:Xiang Yuanbian
1407:Hanlin Academy
1376:
1373:
1369:
1368:
1362:
1361:
1349:
1346:
1341:
1340:
1335:
1329:
1328:
1325:
1313:
1310:
1305:
1304:
1299:
1294:
1289:
1284:
1279:
1273:
1272:
1269:
1266:
1263:
1260:
1257:
1245:
1242:
1237:
1236:
1227:
1222:
1217:
1212:
1207:
1202:
1196:
1195:
1192:
1189:
1186:
1183:
1180:
1177:
1165:
1162:
1157:
1156:
1151:
1145:
1144:
1141:
1129:
1126:
1121:
1120:
1115:
1110:
1104:
1103:
1100:
1097:
1096:人咸知飾其容，而莫知飾其性。
1085:
1082:
1061:
1060:
1055:
1050:
1044:
1043:
1040:
1037:
1036:道罔隆而不殺，物無盛而不衰。
1025:
1022:
997:
996:
991:
985:
984:
981:
969:
966:
944:
943:
938:
932:
931:
928:
909:
906:
890:
889:
884:
878:
877:
874:
862:
859:
847:
846:
840:
839:
827:
824:
810:
809:
804:
799:
794:
789:
784:
779:
770:
761:
751:
750:
747:
744:
741:
738:
735:
732:
729:
726:
714:
711:
697:
684:
683:
680:
677:
674:
671:
649:
648:
641:
640:
639:
637:
634:
633:
632:
621:
618:
615:Xiang Yuanbian
611:
605:
602:
599:
596:
593:
590:
569:
554:
534:
533:
530:
527:
518:
515:
490:
487:
430:in this area.
366:
363:
263:lacquer screen
254:
251:
249:, as item 39.
197:British Museum
132:
131:
129:1903,0408,0.1
126:
122:
121:
118:
117:Identification
114:
113:
110:British Museum
107:
103:
102:
99:
95:
94:
85:
84:Period/culture
81:
80:
77:
73:
72:
69:
65:
64:
59:
55:
54:
51:
47:
46:
43:
35:
34:
15:
9:
6:
4:
3:
2:
4378:
4367:
4364:
4362:
4359:
4357:
4354:
4353:
4351:
4339:
4331:
4330:
4326:
4319:
4312:
4301:
4293:
4292:
4289:
4281:
4278:
4276:
4273:
4271:
4268:
4266:
4263:
4261:
4258:
4257:
4255:
4253:
4250:
4248:
4245:
4243:
4240:
4238:
4235:
4233:
4230:
4228:
4225:
4223:
4220:
4219:
4217:
4213:
4203:
4202:
4198:
4196:
4193:
4191:
4188:
4186:
4183:
4181:
4178:
4176:
4173:
4172:
4170:
4166:
4160:
4159:
4155:
4153:
4152:
4148:
4146:
4145:
4141:
4139:
4138:
4134:
4132:
4131:
4127:
4125:
4124:
4120:
4118:
4117:
4113:
4111:
4110:
4106:
4105:
4103:
4101:
4095:
4089:
4086:
4084:
4081:
4079:
4076:
4074:
4073:
4069:
4067:
4064:
4062:
4059:
4057:
4054:
4052:
4049:
4047:
4044:
4042:
4039:
4037:
4034:
4032:
4029:
4027:
4024:
4022:
4019:
4017:
4014:
4012:
4011:Franks Casket
4009:
4007:
4006:Boxwood altar
4004:
4003:
4001:
3999:
3993:
3987:
3984:
3982:
3979:
3977:
3974:
3972:
3969:
3967:
3964:
3962:
3959:
3957:
3954:
3952:
3949:
3947:
3946:Oxus Treasure
3944:
3942:
3941:
3937:
3935:
3932:
3930:
3927:
3925:
3922:
3920:
3917:
3915:
3912:
3910:
3907:
3905:
3902:
3900:
3897:
3895:
3892:
3890:
3887:
3885:
3884:Burney Relief
3882:
3880:
3877:
3875:
3872:
3870:
3869:White Obelisk
3867:
3865:
3862:
3860:
3857:
3855:
3852:
3850:
3847:
3845:
3842:
3840:
3837:
3835:
3832:
3830:
3827:
3825:
3824:Balawat Gates
3822:
3820:
3817:
3815:
3812:
3811:
3809:
3807:
3803:
3797:
3794:
3792:
3789:
3787:
3784:
3782:
3779:
3775:
3772:
3770:
3767:
3765:
3762:
3760:
3757:
3755:
3752:
3750:
3747:
3746:
3744:
3742:
3739:
3737:
3734:
3732:
3729:
3727:
3724:
3722:
3719:
3717:
3714:
3712:
3709:
3707:
3704:
3702:
3699:
3697:
3696:Portland Vase
3694:
3692:
3691:Piranesi Vase
3689:
3687:
3684:
3682:
3681:Pericles bust
3679:
3677:
3674:
3670:
3667:
3665:
3662:
3660:
3657:
3655:
3652:
3651:
3650:
3647:
3645:
3642:
3640:
3637:
3635:
3632:
3630:
3627:
3625:
3624:Mainz Gladius
3622:
3620:
3617:
3615:
3612:
3610:
3607:
3605:
3602:
3600:
3597:
3595:
3592:
3590:
3587:
3585:
3582:
3580:
3577:
3575:
3572:
3570:
3567:
3565:
3562:
3560:
3559:Elgin Marbles
3557:
3555:
3554:Elgin Amphora
3552:
3550:
3547:
3545:
3542:
3540:
3537:
3535:
3532:
3530:
3527:
3525:
3522:
3520:
3517:
3515:
3512:
3510:
3507:
3505:
3502:
3500:
3497:
3495:
3492:
3490:
3487:
3485:
3482:
3480:
3477:
3475:
3472:
3470:
3467:
3465:
3464:Bassae Frieze
3462:
3460:
3457:
3455:
3452:
3450:
3447:
3445:
3444:Armento Rider
3442:
3440:
3437:
3435:
3432:
3430:
3427:
3425:
3422:
3420:
3417:
3416:
3414:
3412:
3406:
3400:
3397:
3395:
3392:
3390:
3389:
3385:
3383:
3380:
3378:
3375:
3373:
3370:
3368:
3365:
3363:
3360:
3358:
3355:
3353:
3350:
3348:
3345:
3343:
3340:
3338:
3335:
3333:
3330:
3328:
3325:
3323:
3320:
3318:
3315:
3313:
3310:
3308:
3305:
3303:
3300:
3298:
3295:
3293:
3290:
3288:
3285:
3283:
3280:
3278:
3275:
3273:
3270:
3269:
3267:
3265:
3261:
3255:
3252:
3250:
3247:
3245:
3242:
3240:
3239:Rosetta Stone
3237:
3235:
3232:
3230:
3229:Prudhoe Lions
3227:
3225:
3222:
3220:
3217:
3215:
3212:
3210:
3207:
3205:
3202:
3200:
3197:
3195:
3192:
3190:
3187:
3185:
3182:
3180:
3177:
3176:
3174:
3172:
3169:Ancient Egypt
3166:
3160:
3157:
3155:
3154:
3150:
3148:
3145:
3143:
3142:
3138:
3136:
3133:
3131:
3128:
3126:
3123:
3121:
3118:
3116:
3115:Briggs Enigma
3113:
3111:
3110:Benin Bronzes
3108:
3106:
3103:
3101:
3098:
3097:
3095:
3093:
3087:
3084:
3078:
3072:
3069:
3067:
3064:
3062:
3059:
3058:
3056:
3052:
3048:
3041:
3036:
3034:
3029:
3027:
3022:
3021:
3018:
3012:
3010:
3005:
3003:
3001:
2996:
2994:
2991:
2990:
2981:
2977:
2973:
2969:
2965:
2960:
2957:
2951:
2947:
2943:
2939:
2935:
2932:
2926:
2922:
2918:
2915:(2003), "The
2914:
2910:
2907:
2901:
2897:
2893:
2888:
2885:
2879:
2875:
2870:
2867:
2861:
2856:
2855:
2849:
2845:
2842:
2836:
2832:
2827:
2824:
2818:
2814:
2810:
2805:
2802:
2798:
2794:
2790:
2786:
2781:
2778:
2772:
2768:
2764:
2759:
2756:
2750:
2746:
2742:
2738:
2733:
2730:
2724:
2720:
2716:
2711:
2708:
2702:
2698:
2694:
2690:
2685:
2684:
2670:
2663:
2658:
2652:, p. 119
2651:
2646:
2639:
2634:
2628:, p. 264
2627:
2622:
2616:, p. 263
2615:
2610:
2603:
2598:
2591:
2586:
2580:, p. 108
2579:
2574:
2568:, p. 106
2567:
2562:
2556:, p. 213
2555:
2550:
2544:, p. 101
2543:
2538:
2536:
2534:
2532:
2525:, p. 100
2524:
2519:
2512:
2507:
2501:, p. 192
2500:
2495:
2488:
2483:
2481:
2473:
2468:
2461:
2456:
2449:
2444:
2437:
2432:
2425:
2420:
2413:
2408:
2401:
2396:
2389:
2384:
2377:
2372:
2366:, p. 127
2365:
2360:
2353:
2348:
2341:
2336:
2329:
2324:
2317:
2312:
2305:
2300:
2284:
2280:
2274:
2259:
2255:
2249:
2243:, p. 126
2242:
2237:
2222:
2218:
2212:
2210:
2208:
2200:
2195:
2188:
2183:
2181:
2174:, p. 101
2173:
2168:
2161:
2156:
2150:, p. 120
2149:
2144:
2137:
2132:
2125:
2120:
2118:
2116:
2114:
2106:
2101:
2099:
2091:
2086:
2079:
2074:
2067:
2062:
2055:
2050:
2043:
2038:
2031:
2026:
2019:
2014:
2007:
2002:
1995:
1990:
1983:
1978:
1971:
1970:Barnhart 2003
1966:
1959:
1954:
1947:
1942:
1936:, p. 118
1935:
1930:
1923:
1918:
1916:
1908:
1903:
1896:
1891:
1884:
1879:
1871:
1865:
1861:
1860:
1852:
1844:
1838:
1834:
1833:
1825:
1809:
1803:
1796:
1791:
1789:
1787:
1780:, p. 129
1779:
1774:
1770:
1755:
1749:
1740:
1730:
1723:
1719:
1715:
1709:
1700:
1691:
1687:
1679:
1677:
1672:
1668:
1664:
1663:Sidney Colvin
1660:
1656:
1651:
1647:
1643:
1642:Summer Palace
1639:
1635:
1631:
1626:
1624:
1618:
1610:
1606:
1600:
1592:
1588:
1584:
1580:
1576:
1567:
1563:
1553:
1548:
1544:
1539:
1535:
1531:
1526:
1524:
1520:
1516:
1512:
1508:
1503:
1501:
1497:
1493:
1489:
1485:
1481:
1480:Southern Song
1476:
1472:
1468:
1464:
1460:
1455:
1452:
1447:
1443:
1442:
1437:
1433:
1429:
1423:
1415:
1410:
1408:
1404:
1398:
1390:
1386:
1382:
1381:Northern Song
1372:
1367:
1364:
1363:
1359:
1358:
1354:
1345:
1339:
1336:
1334:
1331:
1330:
1326:
1324:故曰：翼翼矜矜，福所以興。
1323:
1322:
1318:
1309:
1303:
1300:
1298:
1295:
1293:
1290:
1288:
1285:
1283:
1280:
1278:
1275:
1274:
1270:
1267:
1264:
1261:
1258:
1255:
1254:
1250:
1241:
1235:
1233:
1232:bush-crickets
1228:
1226:
1223:
1221:
1218:
1216:
1213:
1211:
1208:
1206:
1203:
1201:
1198:
1197:
1193:
1190:
1187:
1184:
1181:
1178:
1175:
1174:
1170:
1161:
1155:
1152:
1150:
1147:
1146:
1142:
1139:
1138:
1134:
1125:
1119:
1116:
1114:
1111:
1109:
1106:
1105:
1101:
1098:
1095:
1094:
1090:
1081:
1077:
1075:
1071:
1067:
1059:
1056:
1054:
1051:
1049:
1046:
1045:
1041:
1038:
1035:
1034:
1030:
1021:
1019:
1015:
1010:
1006:
1003:, consort of
1002:
995:
992:
990:
987:
986:
982:
979:
978:
974:
965:
961:
959:
958:
953:
949:
942:
939:
937:
934:
933:
929:
926:
925:
921:
914:
905:
903:
899:
895:
888:
885:
883:
880:
879:
875:
872:
871:
867:
858:
856:
852:
845:
842:
841:
837:
836:
832:
823:
820:
815:
814:Palace Museum
808:
805:
803:
800:
798:
795:
793:
790:
788:
785:
783:
780:
778:
776:
771:
769:
767:
762:
760:
758:
753:
752:
748:
745:
742:
739:
736:
733:
730:
727:
724:
723:
719:
707:, 27 May 2010
706:
702:
696:
694:
687:
681:
678:
675:
672:
669:
668:
667:
664:
656:
651:
645:
630:
626:
622:
619:
616:
612:
610:
606:
603:
600:
597:
594:
591:
588:
586:tóngguǎn fāng
582:
574:
570:
567:
563:
559:
558:silk tapestry
556:Song dynasty
555:
551:
550:
546:
541:
537:
531:
528:
525:
524:
523:
514:
512:
508:
507:Palace Museum
500:
499:Palace Museum
495:
486:
485:6th century.
483:
479:
473:
471:
467:
463:
452:
451:Zhang Sengyou
448:
444:
440:
436:
431:
428:
423:
421:
417:
413:
409:
404:
402:
398:
394:
390:
385:
381:
377:
373:
362:
360:
356:
351:
349:
345:
341:
337:
333:
328:
326:
322:
318:
312:
304:
300:
296:
292:
288:
280:
276:
272:
268:
264:
259:
250:
248:
247:
242:
237:
235:
231:
230:Palace Museum
227:
226:Southern Song
222:
218:
214:
210:
206:
205:Northern Song
202:
198:
193:
191:
187:
183:
181:Nǚshǐ zhēn tú
177:
169:
165:
164:
159:
155:
151:
147:
143:
139:
130:
127:
123:
119:
115:
111:
108:
104:
100:
96:
93:
89:
86:
82:
78:
74:
70:
66:
60:
56:
52:
48:
41:
36:
33:
26:
25:Nüshi zhen tu
22:
19:
4366:Bears in art
4323:
4242:Private Case
4222:Blythe House
4199:
4156:
4149:
4142:
4135:
4128:
4121:
4114:
4107:
4078:Hedwig glass
4070:
3951:Taylor Prism
3938:
3644:Oscan Tablet
3609:Lycurgus Cup
3599:Jennings Dog
3474:Blacas Cameo
3449:Arundel Head
3386:
3342:Kang Hou gui
3271:
3153:Tree of Life
3151:
3139:
3092:and Americas
3008:
2999:
2974:(6): 41–51,
2971:
2968:Orientations
2967:
2963:
2945:
2941:
2920:
2916:
2895:
2891:
2873:
2853:
2830:
2808:
2795:(6): 30–34,
2792:
2789:Orientations
2788:
2784:
2766:
2762:
2740:
2736:
2718:
2714:
2692:
2688:
2669:
2657:
2645:
2633:
2621:
2609:
2604:, p. 18
2597:
2585:
2573:
2561:
2549:
2518:
2513:, p. 97
2506:
2494:
2489:, p. 96
2467:
2462:, p. 78
2455:
2450:, p. 75
2443:
2431:
2426:, p. 69
2419:
2407:
2395:
2390:, p. 60
2383:
2378:, p. 55
2371:
2359:
2354:, p. 51
2347:
2335:
2323:
2318:, p. 46
2311:
2306:, p. 43
2299:
2287:. Retrieved
2273:
2261:. Retrieved
2257:
2248:
2236:
2224:. Retrieved
2194:
2189:, p. 99
2167:
2155:
2143:
2138:, p. 45
2131:
2107:, p. 98
2092:, p. 41
2085:
2073:
2061:
2049:
2044:, p. 63
2037:
2032:, p. 30
2025:
2020:, p. 29
2013:
2001:
1989:
1977:
1972:, p. 85
1965:
1953:
1941:
1929:
1924:, p. 95
1909:, p. 24
1902:
1897:, p. 22
1890:
1885:, p. 10
1878:
1858:
1851:
1831:
1824:
1812:. Retrieved
1802:
1797:, p. 30
1773:
1748:
1739:
1729:
1721:
1708:
1699:
1690:
1658:
1637:
1629:
1627:
1620:
1602:
1574:
1572:
1552:Qing dynasty
1546:
1537:
1530:Ming dynasty
1527:
1510:
1507:Yuan dynasty
1504:
1487:
1474:
1456:
1450:
1439:
1436:Tang dynasty
1427:Ruìsī Dōnggé
1425:
1411:
1400:
1385:Tang dynasty
1378:
1370:
1365:
1342:
1337:
1332:
1306:
1301:
1296:
1291:
1286:
1281:
1276:
1256:驩不可以黷，寵不可以專。
1238:
1229:
1224:
1219:
1214:
1209:
1204:
1199:
1176:夫出言如微，而榮辱由茲。
1158:
1153:
1148:
1122:
1117:
1112:
1107:
1078:
1062:
1057:
1052:
1047:
1013:
998:
993:
988:
962:
955:
945:
940:
935:
891:
886:
881:
848:
843:
818:
811:
806:
801:
796:
791:
786:
781:
772:
763:
757:yin and yang
754:
689:
685:
665:
661:
654:
624:
584:
544:
535:
520:
504:
481:
478:Wang Xianzhi
474:
470:Northern Wei
432:
424:
419:
408:Tang dynasty
405:
400:
396:
388:
383:
379:
372:Song dynasty
368:
354:
352:
347:
343:
340:Sima Jinlong
336:Northern Wei
329:
314:
298:
286:
284:
278:
271:Northern Wei
267:Sima Jinlong
244:
238:
194:
179:
162:
161:
153:
149:
137:
135:
125:Registration
92:Tang dynasty
31:
24:
18:
4021:Hoxne Hoard
3859:Lyres of Ur
3834:Uruk Trough
3829:Blacas ewer
3806:Middle East
3499:Burgon vase
3399:Wardak Vase
3312:David Vases
3219:Min Palette
3204:Hornedjitef
3105:Aubin Codex
3082:and objects
3080:Departments
3061:Great Court
2964:Admonitions
2942:Admonitions
2917:Admonitions
2892:Admonitions
2785:Admonitions
2737:Admonitions
2715:Admonitions
2689:Admonitions
2172:Murray 2003
1622:Jìngyí Xuān
1560: 1746
1515:Zhao Mengfu
1143:苟違斯義，則同衾以疑。
876:志厲義高，而二主易心。
819:Admonitions
705:BBC Radio 4
636:Description
617:(1525–1590)
412:Sui dynasty
348:Admonitions
321:Empress Jia
291:Jin dynasty
275:Jin dynasty
241:BBC Radio 4
190:Empress Jia
4350:Categories
4098:Prints and
4056:Sutton Hoo
4031:Lindow Man
3998:and Europe
3996:Prehistory
3844:Palmer Cup
3791:Warren Cup
3759:Discobolus
3629:Meroë Head
3584:Harpy Tomb
3352:Klang Bell
3011:Episode 39
2681:References
2263:26 January
2042:Spiro 2003
1814:26 January
1795:Mason 2001
1587:Li Gonglin
1446:Wang Xizhi
1360:女史司箴，敢告庶姬。
1327:靖恭自思，榮顯所期。
1271:結恩而絕，職此之由。
1268:冶容求好，君子所讎。
1265:美者自美，翩以取尤。
1262:致盈必損，理有固然。
1259:專實生慢，愛極則遷。
1194:比心螽斯，則繁爾類。
1191:鑒於小星，戒彼攸遂。
1188:無恃爾貴，隆隆者墜。
1185:無矜爾榮，天道惡盈。
1182:勿謂玄漠，神聽無響。
1179:勿謂幽昧，靈監無象。
1140:出其言善，千里應之。
1102:斧之藻之，克念作聖。
1099:性之不飾，或愆禮正。
1042:崇猶塵積，替若駭機。
1039:日中則昃，月滿則微。
983:夫豈不懷？防微慮遠！
980:班妾有辭，割驩同輦。
930:夫豈無畏？知死不恡！
927:玄熊攀檻，馮媛趍進。
873:衛女矯桓，耳忘和音。
838:樊姬感莊，不食鮮禽。
764:Scattered
749:肅慎爾儀，式瞻清懿。
746:施衿結褵，虔恭中饋。
743:婉嫕淑慎，正位居室。
740:婦德尚柔，含章貞吉。
737:家道以正，王猷有倫。
734:爰始夫婦，以及君臣。
731:在帝庖犧，肇經天人。
728:散氣流形，既陶既甄。
725:茫茫造化，二儀始分。
627:(松竹石泉) by
566:hydrangeas
458: 490
316:Nǚshǐ Zhēn
293:official,
253:Background
4329:Object 39
4260:Directors
3594:Isis Tomb
3357:Kulu Vase
3171:and Sudan
3100:Akan Drum
2980:0030-5448
2938:Yang, Xin
2801:0030-5448
2626:Cura 2003
2614:Cura 2003
2554:Wang 2003
2499:Wang 2003
2364:Chen 2003
2340:Chen 2003
2289:6 October
2241:Chen 2003
2226:14 August
2199:Wang 2003
2078:Yang 2003
2054:Fong 2003
2006:Yang 2003
1994:Fong 2003
1958:Chen 2003
1754:Mawangdui
1583:Zou Yigui
1496:Jia Sidao
1018:Wang Mang
1009:palanquin
948:Lady Feng
629:Zou Yigui
295:Zhang Hua
236:, China.
186:Zhang Hua
146:Gu Kaizhi
4300:Category
4280:Trustees
4252:Secretum
4116:Epifania
4100:Drawings
3754:Caryatid
3749:Antinous
3411:and Rome
3054:Building
2913:Wu, Hung
2283:Archived
1638:de facto
1534:Yan Song
1463:Jurchens
1344:reward.
1001:Lady Ban
698:—
453:(active
435:Wen Fong
243:series,
152:. 345 –
120:Ch.Ptg.1
112:, London
50:Material
4270:Keepers
4265:Friends
3764:Hadrian
2136:Yu 2001
2090:Yu 2001
2066:Wu 2003
1609:Chinese
1591:Chinese
1459:Kaifeng
1414:Chinese
1389:Chinese
1375:History
573:Chinese
443:Nanjing
332:lacquer
303:Chinese
234:Beijing
168:Chinese
76:Created
71:Chinese
68:Writing
4256:Staff
4123:I Modi
3409:Greece
2978:
2952:
2927:
2902:
2880:
2862:
2837:
2819:
2799:
2773:
2751:
2725:
2703:
1866:
1839:
1619::
1617:pinyin
1611::
1601::
1599:pinyin
1593::
1523:Uyghur
1500:Mongol
1424::
1422:pinyin
1416::
1399::
1397:pinyin
1391::
1070:rabbit
902:chimes
817:Hua's
583::
581:pinyin
575::
564:among
313::
311:pinyin
305::
201:London
178::
176:pinyin
170::
4215:Other
4168:Other
3774:Venus
1810:. BBC
1757:date.
1604:sìměi
1555:1683–
1072:or a
898:bells
775:Fu Xi
562:peony
376:Mi Fu
140:is a
101:China
98:Place
4336:40:
4316:38:
3769:Vase
3264:Asia
2998:BBC
2976:ISSN
2950:ISBN
2925:ISBN
2900:ISBN
2878:ISBN
2860:ISBN
2835:ISBN
2817:ISBN
2797:ISSN
2771:ISBN
2749:ISBN
2723:ISBN
2701:ISBN
2291:2010
2265:2018
2228:2010
1864:ISBN
1837:ISBN
1816:2018
1674:and
1418:睿思東閣
1393:弘文之印
1074:toad
900:and
285:The
172:女史箴圖
136:The
58:Size
53:Silk
28:女史箴圖
3669:103
3664:102
1613:靜怡軒
1562:).
1444:by
577:彤管芳
307:女史箴
232:in
199:in
90:or
4352::
3659:85
3654:84
2972:32
2970:,
2815:,
2811:,
2793:32
2791:,
2743:,
2695:,
2530:^
2479:^
2256:.
2219:.
2206:^
2179:^
2112:^
2097:^
1914:^
1785:^
1615:;
1597:;
1595:四美
1557:c.
1420:;
1395:;
766:qi
703:,
579:;
455:c.
309:;
281:).
261:A
174:;
154:ca
150:ca
3039:e
3032:t
3025:v
2293:.
2267:.
2230:.
1872:.
1845:.
1818:.
1671:£
1636:(
589:)
301:(
166:(
148:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
