Oswald Sirén (1879–1966),Gardens of China, inscribed by Pu Ru (1896-1963)The Ronald Presspany, New York, 1949autographed by the author, with a dedication to J. H. Chang, Chang Jen-hu (1927-2019), dated Taipei, May 14, 1956, various pages inscribed possibly by J. H. Chang, and by Pu Ru31.0cm L x 24.2cm W x 4.2cm DProvenance: Provenance:J. H. Chang (1927-2019), gifted by the authorPu RuHsiao Chung Lung (1947-2008), acquired in Taipei in a secondhand bookstore喜龍仁著《Gardens of China》，紐約，1949年，1956年簽名、寄語並贈張鏡湖，后又溥儒批語傳承：張鏡湖（1927-2019），得贈於作者溥儒蕭正倫（1947-2008），購於臺北當地二手書店Osvald Sirén was a Finnish-born Swedish art historian whose interests included the art of 18th century Sweden, Renaissance Italy and China. In the area of Chinese art, his major books include Gardens of China, China and Gardens of Europe of the 18th century, Chinese Painting: Leading Masters and Principles, and The Walls and Gates of Peking (1924). In Gardens of China, Sirénbines his knowledge in Chinese paintings and gardens and borrows heavily from classical Chinese paintings to interpret and analyse the aesthetics of Chinese gardens.J. H. Chang was a Taiwanese educator, geographer specialised in ancient climate change, and the agricultural development of mainland China and Taiwan. It must have been themon interest of Chinese landscapes which brought Sirén and Chang together. In the pages of this book, handwritten notes in ballpoint pen and fountain-pen are seen throughout converting the transliterations of Chinese names and places to Chinese. These notes may have been written by Chang.The plates in this book include a few photos of Prince Gong's Mansion. Pu Ru was the last descent of the family who lived there, and who has inscribed heavily on these pages. Next to a portrait of himself holding a parrot (pl.137), he writes, 'This photo was taken when I was 36 years of age in front of the Bianfu Pavilion... (this is when) nine years after I had returned from Germany with two Ph.D., my mother ordered me to study.' In some of the pages he corrects mistakes by the author, mostly in the names of places. Next to pl.135, he quotes a popular poem by Li Yu, the last emperor of the Southern Tang dynasty, lamenting a lost homeland, a sentiment fit for his own circumstances.喜龍仁（1879–1966），瑞典藝術史學家，學術領域包含18世紀的瑞典藝術、義大利的文藝復興藝術以及中國藝術。在中國藝術研究方面，著有《中國雕刻》、《中國花園》、《中國與18世紀的歐洲園林》等。他是研究中國繪畫的外國先驅之一，其著作《中國畫論：翻譯與評述》、《晚期中國繪畫史》以及分為七冊的《中國繪畫：大師與法則》都屬於劃時代巨作，為下一代學者如高居翰等奠下基礎。在本書中，他將自ð...