This paper examines the Gushi Huapu (Mr. Gu’s Painting Manual), also known as Lidai Minggong Huapu (Collection of Masters’ Works of the Successive Dynasties) compiled by Gu Bing in 1603. It comprises 106 reproductions of masterpieces of old and contemporary artists in chronological order, beginning with the composition of Gu Kaizhi, a single most important artist of the Six Dynasties period and closing with that of Wang Tingce, a contemporary painter of Gu Bing, printed together with their biographical information. Gu Bing made copies of those masters by himself. Gentlemen mostly from Jiangnan region, with whom Gu was acquainted, contributed to write the biographical information of the artists in a variety of calligraphic styles. The majority of the artists’ biographical information was taken from Tuhui Baojian (The Precious Mirror of Painting, 1365) and its later published follow up. The first edition was published by Shuanguitang in Hangzhou. It was reprinted few times in the Wanli era (1573-1619). Later certain numbers of Gushi Huapu had been brought into Japan during the eighteenth century and a Japanese edition came out in 1798.
Although the Gushi Huapu has neither a section explaining how to paint nor a section on classical painting theories, its back-to-back arrangement of the pictures and their artists’ information make the first illustrated art history book, especially useful for painters and trainees who otherwise have no access to actual masterworks, and art connoisseurs who need a guidance. Zhu Zhifan speaks for Gu’s aim of publication in the preface of this compilation saying that he clarifies old masters accomplishments in a comprehensive survey and his selfless mind makes possible to share the fruits of his personal effort with public, and that such project is unheard of before, contributing great deal in the world of art.
Gu Bing took what he needed from accessible paintings to compile an illustrated, comprehensive survey of Chinese painting history. As a result, the art of painting and art historical knowledge, having been monopolized by the elite, came to be popularized and disseminated among urban populations of the late Ming and Qing period. Chinese artists after him and Japanese artists of the Edo period took what they wanted from the Gushi Huapu to create their paintings, as well as compile their own painting manuals.