These are photos from the book "Atlas of Qu Yuan’s Nine Songs" (Illustrations) which was acquired in Northern China in Tianjin around 1989. I have begun research to identify who the artists are and more details concerning this book. Assistance is always welcome. I can be contacted at professorcharlieusa@gmail.com.

Nine Songs

After Zhao Mengfu Chinese

The Met Fifth Avenue
- 1000 Fifth Avenue
- New York, NY 10028
- Phone: 212-535-7710

14th century (?)The Nine Songs are lyrical, shamanistic incantations dedicated to nine classes of deities worshipped by the Chu people of south China during the first millennium B.C. The original text consists of eleven songs, ten of which are transcribed and illustrated here. The illustrations are preceded by a portrait of the poet Qu Yuan (343–277 B.C.), which is accompanied by an essay entitled "The Fisherman," recounting the poet's state of mind toward the end of his life.

元佚名倣趙孟頫九歌圖冊

Title: Nine Songs

Artist: After Zhao Mengfu (Chinese, 1254–1322)

Period: Yuan dynasty (1271–1368)

Date: 14th century (?)

Culture: China

Medium: Album of eleven paintings; ink on paper

Dimensions: 10 3/8 x 6 1/4 in. (26.4 x 15.9 cm)

Classification: Paintings

Credit Line: Ex coll.: C. C. Wang Family, Fletcher Fund, 1973

Accession Number: 1973.121.15a–p

Zhao Mengfu's paintings for the Nine Songs in the baimiao, or "white-drawing" style, are based on compositions by Li Gonglin (ca. 1041–1106) and were a primary source for later fourteenth-century paintings of this theme by Zhang Wu (active 1333–65) and others. Because the calligraphy in the album does not compare with the best of Zhao Mengfu's writing, it is probable that these leaves represent close, reliable copies of Zhao's important work, executed during the fourteenth century. One leaf, "The Lord of Clouds," is a later replacement (no earlier than the seventeenth century).

Image 1

Image 2

Qu Yuan (屈原), regarded as a pioneer in Chinese poetry, constructs a specific aesthetics of the “exile literature” (貶謫文學) due to the political adversities he encountered. In one of his fantastic epic poem, “Suffering” (離騷), he denounces the imperial corruption, disregarding an entire “profane” dimension for the sake of a better one; his epic expedition for “searching for the goddesses” (求女) expresses a specific emphasis on what seems to be ideal, immutable, “sacred”. According to Eliade, the profane space is a heterogeneous locus on which we can find “breaks” of “sacredness” – particular places where the space elevates itself, while the temporality changes its internal laws. Indeed, Qu Yuan seems to assume in his life not only the role of a politician and poet, but also of a priest, creating by his work no less than “sacred” openings through such mysterious elements as consecration, conjuration, and by evoking mythological figures. In our hermeneutical effort we would comprehend sacredness through the work of the German Lutheran theologian Rudolf Otto, with a particular emphasis on das Numinose, along with Mircea Eliade’s concept of the “sacred” as being opposed to the profane. "

Image 3 - "King of the Sky Stay"

The following is my description of Image 3 to Chat GPT 2.5. Some might find the conversation with this AI tool interesting:

My Description

The image that Google image translate identified as King of the Sky Stay is in a book I acquired in a street market in 1989 in Tianjin China. The image shows a handsome man who appears to be wearing a golden crown of sorts sitting in a 2-wheel rickshaw being pulled by a dragon whose tail goes under the rickshaw and out the back. The man wears a cloak that appears to have a clasp of gold. He also appears to be carrying a purse / bag of sorts on his right side that appears to have gold coins. His face shows intelligence and smoothness. He has a long goatee and arched eyebrows.

ChatGPT's Response

Thank you for providing more details about the image. From your description, it appears that the illustration in your book is a depiction of a mythical or historical figure with rich symbolism. Given the combination of elements, such as the dragon, the man's attire, and the overall context, it's possible that this image represents a specific character or scene related to Chinese mythology or folklore.

Without being able to see the actual image, it's challenging to provide a precise identification or historical background. However, based on the description, a few possibilities come to mind:

Dragon Symbolism: Dragons hold significant cultural and mythological importance in Chinese tradition. They are often seen as powerful and auspicious creatures associated with emperors, prosperity, and protection.

Golden Crown and Purse: The man's regal appearance, wearing a golden crown and carrying a bag of gold coins, suggests a person of high status, possibly a king or a deity.

Goatee and Arched Eyebrows: The specific features of the man, such as the goatee and arched eyebrows, might be clues to his identity or association with certain characters from Chinese folklore or history.

Rickshaw and Dragon Pulling: The combination of a traditional 2-wheel rickshaw and a dragon pulling it is a unique and imaginative fusion of elements, which could be artistically significant and carry cultural symbolism.

Considering the date of acquisition (1989) and the setting (Tianjin, China), the illustration might have been created by a contemporary artist or be inspired by traditional Chinese art styles.

To gain more insights into the image's meaning and historical context, I recommend consulting with experts in Chinese mythology, folklore, and art history. They can help identify the specific figure or story represented in the image and shed light on the artistic and cultural significance of the illustration. If possible, you may also consider sharing the image with experts in Chinese art or antique book specialists to get their input on its artistic quality and potential historical importance.

Image 4