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Vignettes from the Late Ming: Cover

Vignettes from the Late Ming
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table of contents
  1. Title Page
  2. Copyright
  3. Dedication
  4. Contents
  5. Acknowledgments
  6. Hsiao-p’in of the Late Ming: An Introduction
  7. Editorial Notes
  8. Map
  9. Epigraphs
  10. Kuei Yu-kuang
    1. Foreword to “Reflections on The Book of Documents”
    2. A Parable of Urns
    3. Inscription on the Wall of the Wild Crane Belvedere
    4. The Craggy Gazebo
    5. The Hsiang-chi Belvedere
    6. An Epitaph for Chillyposy
  11. Lu Shu-sheng
    1. Inkslab Den
    2. Bitter Bamboo
    3. A Trip to Wei Village
    4. A Short Note about My Six Attendants in Retirement
    5. Inscription on Two Paintings in My Collection
    6. Inscription on a Portrait of Tung-p’o Wearing Bamboo Hat and Clogs
  12. Hsü Wei
    1. To Ma Ts’e-chih
    2. Foreword to Yeh Tzu-shu’s Poetry
    3. Another Colophon (On the Model Script “The Seventeenth” in the Collection of Minister Chu of the Court of the Imperial Stud)
    4. A Dream
  13. Li Chih
    1. Three Fools
    2. In Praise of Liu Hsieh
    3. A Lament for the Passing
    4. Inscription on a Portrait of Confucius at the Iris Buddhist Shrine
    5. Essay: On the Mind of a Child
  14. T’u Lung
    1. A Letter in Reply to Li Wei-yin
    2. To a Friend, while Staying in the Capital
    3. To a Friend, after Coming Home in Retirement
  15. Ch’en Chi-ju
    1. Trips to See Peach in Bloom
    2. Inscription on Wang Chung-tsun’s A History of Flowers
    3. A Colophon to A History of Flowers
    4. A Colophon to A Profile of Yao P’ing-chung
    5. Selections from Privacies in the Mountains
  16. Yüan Tsung-tao
    1. Little Western Paradise
    2. A Trip to Sukhāvati Temple
    3. A Trip to Yüeh-yang
    4. Selections from Miscellanea
  17. Yüan Hung-tao
    1. First Trip to West Lake
    2. Waiting for the Moon: An Evening Trip to the Six Bridges
    3. A Trip to the Six Bridges after a Rain
    4. Mirror Lake
    5. A Trip to Brimming Well
    6. A Trip to High Beam Bridge
    7. A Biography of the Stupid but Efficient Ones
    8. Essay: A Biography of Hsü Wen-ch’ang
  18. Yüan Chung-tao
    1. Foreword to The Sea of Misery
    2. Shady Terrace
    3. Selections from Wood Shavings of Daily Life
  19. Chung Hsing
    1. Flower-Washing Brook
    2. To Ch’en Chi-ju
    3. A Colophon to My Poetry Collection
    4. Colophon to A Drinker’s Manual (Four Passages)
    5. Inscription after Yüan Hung-tao’s Calligraphy
    6. Inscription on My Portrait
  20. Li Liu-fang
    1. A Short Note about My Trips to Tiger Hill
    2. A Short Note about My Trips to Boulder Lake
    3. Inscriptions on An Album of Recumbent Travels in Chiang-nan (Four Passages)
      1. Horizontal Pond
      2. Boulder Lake
      3. Tiger Hill
      4. Divinity Cliff
    4. Inscription on A Picture of Solitary Hill on a Moonlit Night
  21. Wang Ssu-jen
    1. A Trip to Brimming Well
    2. A Trip to Wisdom Hill and Tin Hill
    3. Passing by the Small Ocean
    4. Shan-hsi Brook
  22. T’an Yüan-ch’un
    1. First Trip to Black Dragon Pond
    2. Second Trip to Black Dragon Pond
    3. Third Trip to Black Dragon Pond
  23. Chang Tai
    1. Selections from Dream Memories from the T’ao Hut
      1. A Night Performance at Golden Hill
      2. Plum Blossoms Bookroom
      3. Drinking Tea at Pop Min’s
      4. Viewing the Snow from the Mid-Lake Gazebo
      5. Yao Chien-shu’s Paintings
      6. Moon at Censer Peak
      7. Liu Ching-t’ing the Storyteller
      8. West Lake on the Fifteenth Night of the Seventh Month
      9. Wang Yüeh-sheng
      10. Crab Parties
      11. Lang-hsüan, Land of Enchantment
    2. An Epitaph for Myself
    3. Preface to Searching for West Lake in Dreams
  24. Appendix A: Table of Chinese Historical Dynasties
  25. Appendix B: Late Ming through Early Ch’ing Reign Periods
  26. Notes
  27. Bibliography
  28. Index

The book cover is divided in half, into two narrow vertical strips. On the left is a Chinese landscape painting on a long scroll, with rugged mountains above gnarled pines and a lone scholar in his studio at the edge of a lake below. On the right is a bright red panel with the words A Hsiao-p’in Anthology at the top, followed by Vignettes from the Late Ming, followed by Translated with Annotations and an Introduction by Yang Ye.

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