, In 1127 the capital of the Song empire, Kaifeng, was sacked by the Jurchens, Emperor Huizong and his son Emperor Qinzong of Song (r. 1126–1127) were taken prisoner, and the north of China was subsumed within the Jin Dynasty (1115–1234).
"A History of the World – Transcripts – Admonitions Scroll". , It is not known when the first painting in illustration to Zhang Hua's text was made, but a lacquer screen painting from the tomb of a Northern Wei Dynasty (386–535) official by the name of Sima Jinlong (司馬金龍, died 484) that was excavated in 1986. Lady Feng, calm and ladylike, simply places herself in front of the bear, protecting the emperor in her own way. ^ McCausland 2003, p. 43 ^ McCausland 2003, p. 46 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 Admonitions Scroll another court lady is seated beside him, showing that he ignored the advice of Lady Ban, and highlighting that fact that his behaviour as emperor was seen to be responsible for the seizure of power by Wang Mang (45 BC – 23 AD) in 9 AD. 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. What happened to the Admonitions Scroll next is a matter of conjecture. WHEBN0027579071
A monochrome paper scroll copy of the painting, complete in twelve scenes, was made during the Southern Song (1127–1279), and is now in the collection of the Palace Museum in Beijing, China. , After the death of An Qi, the Admonitions Scroll passed into the hands of the Qianlong Emperor (r. 1735–1796), who treasured the painting as the pinnacle of Chinese art. 406), but which modern scholarship regards as a 5th to 8th century work that may or may not be a copy of an original Jin Dynasty (265–420) court painting by Gu Kaizhi. To take place on 18-20 June 2001, event is a joint Scene 5: Lady Ban refuses to ride in the imperial litter, Scene 11: A lady reflects upon her conduct, Barnhart, Richard M. (2003), "Concerning the Date and Authorship of the, Cura, Nixi (2003), "A 'Cultural Biography' of the, Mason, Charles (June 2001), "The British Museum. Article Id:
 The image is disturbed by a line of text from Zhang Hua's Admonitions 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. 345–406) , Jin Dynasty (265–420) Handscroll, ink and colors on silk, 24.4 x 343.8 cm, The British Museum, London Scenes 2–5 — four scenes illustrating stories about the exemplary behaviour of famous palace ladies from history; Scene 6 — a mountain scene which separates the preceding scenes depicting anecdotes from the following scenes of palace life; Scenes 7–11 — five scenes that follow the life of a palace lady; Scene 12 — a concluding scene that shows the Court Instructress writing her admonitions. Change ). Similar pictorial motifs have been discovered in contemporary tombs. The next reference to the painting occurs in the Xuanhe Painting Manual, which is a catalogue of paintings in the collection of Emperor Huizong of Song (r. 1100–1126) that was compiled in 1120. The first suggestion that the painting was not an original Gu Kaizhi painting, but a Tang Dynasty (618–907) copy, was made in a book written by Hu Jing (胡敬, 1769–1845) in 1816. 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. 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 1st Bengal Lancers, who was stationed at the Summer Palace, somehow managed to acquire the Admonitions Scroll.  One of the end sections also incorporates two seals of the notorious Southern Song chancellor, Jia Sidao (1213–1275), who was instrumental in the Mongol 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. Accessed 2012-03-25. 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 History of the Latter Han, thus indicating that the artist did not base the painting solely on Zhang Hua's text. 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. 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.  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. His Majesty, taking a scroll from his pocket, proceeded, with great distinctness, to pour out the... ... inches high.’ ‘Is it possible,’ said I, my mind reverting to the gigantic admonitions we were then displaying to the multitude— which were as infants... ...ned the King, ‘is undoubtedly so.’ Here he instantly rushed again into the scroll. These quotes are from the transcript of the BBC radio broadcast. The painting, which is now held at the British Museum in London, 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. (1) It depicts the belief of the daoist/taoist qui, or the breath that animates all creation and shows life’s movement. 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 Admonitions Scroll 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. Full Text Search Details...—Pharaoh, Balaam, etc., prohibition, impurity, ruthless curses in the two admonitions and so on. , The early history of the painting is unknown, and it is not until the latter part of the, After the death of Qianlong the Admonitions Scroll remained in the imperial palace at Beijing, but when the building the "Four Beauties" were housed in was in need of repairs the Empress Dowager Cixi (de facto ruler of China from 1861 to 1908) ordered the four paintings to be transferred to the Summer Palace to the west of the city. The painting was part of the 2010 BBC Radio 4 series, A History of the World in 100 Objects, as item 39. 1162–1189). , 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. Granted, only a qualified mental... ...d stable Sources of Narcissistic Supply. The Palace Museum copy clearly shows a toad in the moon, which follows early Chinese artistic practice (for example on the, Articles containing Chinese-language text, Commons category without a link on Wikidata, The Coming of Messiah in Glory and Majesty. The white in the parchment of the scroll of Torah implies the Light, and the black, being the letters in the... ...croll of Torah implies the Light, and the black, being the letters in the scroll of Torah, indicates the quality of the Kelim.