Ruskin, John, 262–263

Modern Painters, 263

the grotesque 262–263

Sargent, Stuart, 265

scholar-officials (in the Song dynasty), 100

scholar-officials’ aristocratic bias against painting, 6, 8

Schultz, William, 178

Shangguan Yi, 2, 28

gongti, 12

gongtishi, 29

Shangguan style, 29

Shen Deqian, 1

, 1, 207

Shen Kuo, xiii

“A Song of Painting”, xiii

Mengxi bitan, 246

Shi Buhua, 210, 223

Xianyong shuoshi, 210

Shi jing, 4, 10–11, 14, 19, 27, 31, 95, 112, 197, 254, 278, 292, 316

Ma Hezhi’s illustrations of, 95

shihua, 78, 121, 183, 259

Shitao (Daoji), 167, 174–176, 190–192, 314–315

Huayu lu, 175

spiritual father of Yangzhou Baguai, 176

theory of the First Stroke, 191–192

shiyitu, xiv, 14, 74, 96–97, 109, 127, 326–327, 332

Sikong Tu, 71, 180, 232, 262

“Letter Discussing Poetry with Master Li”, 235–236

“Letter to Jipu”, 235

Shi pin233–235

yun wai zhi zhi235–237, 254, 262, 273

Siku quanshu, 89, 184, 187

Siren, Osvald, 138

Spender, Stephen, 327–328

Sun Shaoyuan, xii, 87, 187

Shenghua jiShenghua ji87–89, xii, xii

Su Shi, xii, xiv, 60, 86, 91, 100, 103, 108, 110, 120–121, 127, 131, 198, 202, 231–273, 279–280, 284

changli254–255, 244, 247, 251, 251

changxing, 245, 248

“Discourse on My Own Writing”, 248

descriptive component, 268–271

Du Fu’s influence, 237–241

formal nonlikeness and open-ended signification, 199, 259

formal nonresemblance over formal verisimilitude, xvi

Gu Kaizhi’s influence, 245

hua zhong you shi, 259

“In Reply to Xie Shimin’s Letter”, 249

legacy fromSikong Tu, 262

“Notes From Baohui Hall”, 247–248

“Notes on Chaoran Terrace”, 248

“Notes on Painting From Jingyin Monastery”, 245–246

“Notes on the Supine Bamboo From Yundang Valley Painted by Wen Yuke”, 247

poetic discursiveness299–300, xvi, 244, 248, 251, 255, 271, 291, 291, 303, 308, 322

poetry-painting analogy, 256–258

“Postscript to a Painting by Wu Daozi”, 20