Chang Ta-ch'ien, "Landscape in the Manner of Wang Meng." 49. Chang Ta-ch'ien, "Self-portrait Age 70, Leaning on Pine." 55. Chang Ta-ch'ien, "After Tung Yüan,'Summer Trees Casting Shade.'" 63. For instance, the second figure in this "Three Worthies" scroll is taken from a "Seven Worthies" handscroll (Ch'i-hsien t'u) attributed to Ch'ien Hsüan in the National Palace Museum, Taipei, reproduced in Ku-kung shu-hua t'u-lu v.16 fig. These are good examples for close study by anyone wanting to detect Chang's fakes. Future researchers can have the fun of identifying some of Chang's models for the figures in this, the Sun Wei scroll (#5 below) and others. The appearance of this fake—the spotted and rent "ancient" silk, the way the pigments lie on it, and of course the spaceless composition--agree closely with the "Three Worthies" (#1), the "Grooms and Horses" (#4), and others. T'ang, "Ming-huang on Horseback, with Attendants." 40. Wang Meng, "Lofty Reclusion in Summer Mountains." 45. I conclude by breaking my original intention and adding a few paragraphs on "Riverbank." (I want to acknowledge the help of Sarah Fraser in getting some of the pictures and information included here.) 1. T'ang,"The Bodhisattva Kuan-yin with Flowers in a Glass." 8. T'ang, "Bodhisattva with Willow Branch and Glass Bottle." 9, Anon. Kuan T'ung, "Drinking and Singing at the Foot of a Precipitous Mountain." 18, Wang Shen, "Sheer Peaks and Deep Valley." 19. Kao K'o-ming, "Clearing After Snow on the River." 21.
I know this one only from the reproduction, and have no opinion on it; it appears to be like the above two. On my first viewing of this group, see also "Chang Forgeries" p. Hironobu Kohara has told me that the box for the painting has an inscription dated 1954 signed by "Naitô Seisen," an invented Japanese scholar, claiming that the painting was in Japan in the early 20th century. Yen Li-pen, "Emperor Kao-tsu of T'ang, with Attendants." 32. I Yüan-chi, "Two Gibbons In a Loquat Tree." 30, Chû-jan,"Dense Groves and Layered Peaks" 31. Tai Pen-hsiao, "Landscape." 35, Hui-tsung, after T'ang, "Ming-huang Teaching His Son." 36. Tung Yüan, "Rivers and Mountains in Snow." Long handscroll, ink on silk. The way the hilltop at the top of the work disappears—not into fog, but simply into the dark silk, not painted in by Chang—nicely parallels the similarly unpainted mountaintop in "Riverbank." Two slides (b is Freer "Tung Yuan") 13.