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Attributed to Qiu Ying (1494–1552) Scholars in a Blue Green Landscape Hanging scroll, ink and color on paper, signed Shi Fu Qiu Ying, with two seals. 16 1/4 x 11 7/8in (41.4 x 30cm) 傳 仇英 青綠山水 設色紙本 立軸

Zhao Shao'ang (1905-1998) FISHING IN THE WINTER POND 60.3 BY 104.4 CM. 23 3/4 BY 41 1/8 IN. 趙少昂 (1905-1998) 獨釣寒江雪 設色紙本 鏡框 一九五二年作 款識:千山鳥飛絕,萬徑人踪滅; 孤舟簑笠翁,獨釣寒江雪。 壬辰十一月。少昂寫唐人詩意。裕源吾兄指正。 鈐印:「少昂」。 60.3 BY 104.4 CM. 23 3/4 BY 41 1/8 IN.

Master Thunder (Lei Gong) Medium: Hanging scroll; ink and color on silk Dimensions: Image: 38 3/4 x 24 5/8 in. (98.4 x 62.5 cm) 明代 雷公圖 掛軸 約1542年 作者不詳.

Groom and Horse (人馬圖), dated 1296 Zhao Mengfu (趙孟頫, Chinese, 1254–1322) Handscroll, ink and color on paper; 11 7/8 x 17 1/8 in. (30.3 x 43.5 cm)

Dong Qichang | Landscapes after old masters | China | Ming dynasty (1368–1644) Album of eight leaves; ink on paper. 9 5/8 x 6 5/16 in. (24.4 x 16 cm) | 明 董其昌 巖居高士圖 水墨紙本. 冊頁 題識: 巖居高士 其昌

Figures, flowers, and landscapes (明/清 陳洪綬、陳字 雜畫 冊 絹本) Artist: Leaves a–d painted by Chen Hongshou (Chinese, 1599–1652) and Chen Zi (Chinese, 1634–1711) Period: late Ming dynasty (1368–1644)–early Qing (1644–1911) dynasty Date: one leaf dated 1627 Culture: China Medium: Album of eleven leaves; ink and color on silk.

XU LINLU(1916~)DOLLS. Ink and color on paper, hanging scroll Dated 1979 68×31cm 許麟廬(1916~)泥人玩具圖 設色紙本立軸 1979年作 款識: 許麐廬寫于京華竹簫齋,時己未春。 鈐印: 許(白)

Song Wenzhi (b. 1919~1999) LANDSCAPE Hanging scroll; ink and colour on paper. 宋文治 (b. 1919~1999) 黃山新貌(1973年作) 立軸 設色紙本 46 x 37 cm. 18 1/8 x 14 1/2 in. 約1.5平尺 鈐印:文治 題識:一九七三年秋,君勱同志游黃山歸來得此稿,我戲寫之。文治。

Eleven-Headed Guanyin Standing in a Landscape Surrounded by Selected Illustrations and Quotations from the Lotus Sutra, dated to 985. Hanging scroll; ink and color on silk. Chinese, 10th century Song dynasty, Northern Song period, 960-1127. Creation Place: Dunhuang, Gansu province, China. Harvard Art Museums, Department of Asian Art.

Dunhuang - Apsaras and Boddhisattvas on the ceiling of an early Tang cave. The Indian influence and emotional ecstasy lasted into the 7th century as did the strong, Central Asian colors, before they were extinguished by the influence of a more muted, monochrome Chinese sensibility. Cave 321, Early Tang, 7th century.