Ren Yi (1840-1896), Wu Guxiang (1848-1903), Zhang Xiong (1803-1886) and Zhang Zuyi (1849-1917)Sharing Karma with the Buddha (Portrait of Xugu) Horizontal handscroll, ink and color on paper, a collaborative work by Ren Yi, Wu Guxiang and Zhang Xiong, inscribed by Zhang Xiong, with artists' seals reading Zhang Zixiang , Qiunong shuo zuo and Ren Yi zhi yin ; mounted with a calligraphic frontispiece by Zhang Zuyi, ink on paper, with two calligrapher's seals Zhang Zuyi and Tixian . the painting: 10 1/2 x 50 3/8in (26.6 x 128cm) the frontpiece: 10 1/2 x 29 5/8in (26.6 x 75.3cm)) 任頤、吳轂祥、張熊及張祖翼 虛谷肖像 設色紙本 手卷 款識：虛谷先生玉照。山陰任君伯年道兄所繪，秀水吳秋農居士補圖成之。鴛鴦湖老人子祥張熊題。 鈐印：秋農所作、任頤之印、張子祥 引首：與佛有緣 鈐印：張祖翼、逖先 Published/出版: Teisuke Toda and Hiromitsu Ogawap. prehensive Illustrated Catalogue of Chinese Paintings , Third Series, Volume 1: American and Canadian Collections, University of Tokyo Press, 2013, A50-023, pp.188-189 戶田禎佑、小川裕充，《中國繪畫總合圖錄》三編，第一卷，東京大學出版會，東京，2013年，A50-023，頁188-189 Tsao Jung Ying, Craig L. Yee and Siyuan Chen, Juefei An Xugu: yi quan da po qu lai jin, Breaking through the Past to Modernity: The Art of Xugu , Beijing, Liangyou Huayi, 2012, no 17 曹仲英, Craig L. Yee, Siyuan Chen,《覺非盦虛谷: 一拳打破去來今》，北京良友華藝，2012年，圖錄編號17 Little, Stephen, and J. May Lee Barrett. New Songs on Ancient Tunes: 19th-20th Century Chinese Paintings and Calligraphy from the Richard Fabian Collection ， Honolulu: Honolulu Academy of Arts, 2007, pp.264-267 Little, Stephen, J. May Lee Barrett,《古調新歌：費立哲神父珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年，頁264-267 Exhibited/展覽: New Songs on Ancient Tunes , Honolulu Art Academy, Honolulu, Hawaii, August 30-October 28, 2007 《古調新歌：費立哲神父珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年8月30日至10月28日 Ren Yi's important contributions to the genre of portraiture cannot be understated. He learned to paint portraits from his father Ren Hesheng (Songyun), however Ren Yi's innovations transcended the conventional approach to portraiture in China. Active in Suzhou and Shanghai, Ren Yi was fortunate to operate in two thriving cultural capitals. One, famous as the longstanding home of Wu School painting and infamous as the source of Suzhou Pian (Suzhou fakes), the other a new city with a notable European and strongmercial presence, its name bing synonymous with fashion and style. Within these two cities, Ren Yi would hone his art. His creative and diverse approach to portraiture is well-illustrated in this painting and lot 39, Portrait of Gao Yong's Wife . Here, the face of the sitter, his friend and artistic collaborator Monk Xugu, is striking. Close examination reveals Ren Yi employed tiny stippled dots of color to create a three-dimensional effect. One side of his face is in shadow-sharp contrast, and the realistic appearance bears the imprint of photography. Unlike Portrait of Gao Yong's Wife , the artist strives for fidelity and naturalism in this scroll. Contrasting the rema