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{{Use dmy dates|date=November 2019}}
{{Use dmy dates|date=November 2019}}
{{short description|Qing dynasty 17th-century Chinese woman painter}}
{{short description|17th-century Chinese female artist and poet}}
{{family name hatnote|[[Li (surname 李)|Li]]|lang=Chinese}}
{{family name hatnote|[[Li (surname 李)|Li]]|lang=Chinese}}
{{Infobox artist
{{Infobox artist
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| resting_place_coordinates =
| resting_place_coordinates =
| nationality = Chinese
| nationality = Chinese
| spouse = {{ill|Ge Zhengqi|zh|葛徵奇}}
| spouse = Ge Zhengqi
| field = Painting, calligraphy, poetry
| field = Painting, calligraphy, poetry
}}
}}


'''Li Yin''' ({{zh|c=李因}}; C. 1610 – 1685), also known by her [[courtesy name]] '''Jinsheng''' (今生) and her [[art name]]s '''Shi'an''' (是庵) and '''Haichang Nüshi(海昌女史)''' or '''kanshan Yishi(龛山逸史)''',<ref name="lee et al" /> was a Chinese painter, poet, and calligrapher during the late [[Ming dynasty|Ming]] and early [[Qing dynasty|Qing]] dynasties, noted for her flowers and birds. Her artwork was sought after in her lifetime, resulting in as many as forty imitators in her area producing fakes of her works.<ref name="weidner-cat">{{cite book |last1=Weidner |first1=Marsha |editor1-last=Weidner |editor1-first=Marsha |title=Views from Jade Terrace : Chinese women artists, 1300–1912 |date=1988 |publisher=Indianapolis Museum of Art |isbn=0847810038 |pages=[https://archive.org/details/viewsfromjadeter00weid/page/102 102–105] |chapter=catalogue |chapter-url=https://archive.org/details/viewsfromjadeter00weid/page/102 }}</ref>
'''Li Yin''' ({{zh|c=李因}}; C. 1610 – 1685), also known by her [[courtesy name]] '''Jinsheng''' (今生) and her [[art name]]s '''Shi'an''' (是庵) and '''Haichang Nüshi''' (海昌女史) or '''Kanshan Yishi''' (龛山逸史),<ref name="lee et al" /><ref>{{cite web | url=https://3g.china.com/act/culture/11170671/20220316/41665326.html | title=The smart emotions and free souls revealed in the paintings of women in the Ming Dynasty}}</ref> was a Chinese calligrapher,[[Gējì|courtesan]], painter, and poet during the late [[Ming dynasty|Ming]] and early [[Qing dynasty|Qing]] dynasties. She was noted for her illustration of flowers and birds. Her artwork was highly sought after during her lifetime, resulting in fakes being produced by more than forty imitators.<ref name="weidner-cat">{{cite book |last1=Weidner |first1=Marsha |editor1-last=Weidner |editor1-first=Marsha |title=Views from Jade Terrace : Chinese women artists, 1300–1912 |date=1988 |publisher=Indianapolis Museum of Art |isbn=0847810038 |pages=[https://archive.org/details/viewsfromjadeter00weid/page/102 102–105] |chapter=catalogue |chapter-url=https://archive.org/details/viewsfromjadeter00weid/page/102 }}</ref>


== Early life ==
== Early life ==
Li Yin was born in Kuaiji ([[Shaoxing]]), [[Zhejiang]], during the late [[Ming dynasty]]. Various sources give her year of birth as 1610, 1611, or 1616.<ref name="lee et al" /> Her family background is not known but according to a contemporary biographical sketch her parents made her study poetry and painting from an early age.<ref name="weidner-cat" /> Their financial circumstances were poor enough that she was said to have stored up liver mosses as paper and persimmon sticks to write with.<ref name="lee et al" /> She likely made a living as a [[courtesan]], as her contemporary biographer [[Huang Zongxi]] compares her to [[Wang Wei (courtesan)|Wang Wei]] and [[Liu Rushi]], two famous courtesans of the era.<ref name="Yang2017">{{cite book|url=https://books.google.com/books?id=KzEmDwAAQBAJ&pg=PA36|title=Women's Poetry and Poetics in Late Imperial China: A Dialogic Engagement|last=Yang|first=Haihong|date=2017|publisher=Lexington Books|isbn=978-1-4985-3787-2|pages=34–36}}</ref> She studied painting from the artists [[Chen Chun]] and Ye Danian (葉大年).<ref>{{Cite web|url=http://wenyi.gmw.cn/2018-03/27/content_28126314.htm|title=才女李因的水墨牡丹|last=Sun Lisheng 孙黎生|date=27 March 2018|website=Guangming Daily|archive-url=|archive-date=|access-date=16 October 2019}}</ref>
Li Yin was born in Kuaiji ([[Shaoxing]]), [[Zhejiang]], during the late [[Ming dynasty]]. Various sources give her year of birth as 1610, 1611, or 1616.<ref name="lee et al" /> Her family background is not known, but according to the biography by [[Huang Zongxi]], her parents made her study poetry and painting from an early age.<ref name="weidner-cat" /> Their financial circumstances were poor enough that she was said to have stored up liver mosses as paper and persimmon sticks to write with.<ref name="lee et al" /> Later, she became a [[Geji]] performer to make extra money,<ref>{{cite web | url=http://szb.northnews.cn/nmgrb/html/2018-01/29/content_7_1.htm | title=Talented girl Li Yin's ink peonies}}</ref> with [[Huang Zongxi]] comparing Li to her more famous contemporaries [[Wang Wei (Gējì)|Wang Wei]] and [[Liu Rushi]].<ref>{{cite web | url=http://www.takungpao.com.hk/culture/text/2017/0121/55444.html | title=CUHK exhibits works by female painters of Ming Dynasty}}</ref><ref name="Yang2017">{{cite book|url=https://books.google.com/books?id=KzEmDwAAQBAJ&pg=PA36|title=Women's Poetry and Poetics in Late Imperial China: A Dialogic Engagement|last=Yang|first=Haihong|date=2017|publisher=Lexington Books|isbn=978-1-4985-3787-2|pages=34–36}}</ref> She studied painting under an otherwise unknown master named Ye Danian (葉大年), who helped develop her style in the manner of [[Chen Chun]] and [[Xu Wei]], two renowned painters of the previous century.<ref>{{Cite web|url=http://wenyi.gmw.cn/2018-03/27/content_28126314.htm|title=才女李因的水墨牡丹|last=Sun Lisheng 孙黎生|date=27 March 2018|website=Guangming Daily|archive-url=|archive-date=|access-date=16 October 2019}}</ref><ref name="weidner-cat" />


== Marriage with Ge Zhengqi ==
== Marriage with Ge Zhengqi ==
By the time she was a teen, Li's talent in both art and poetry was already recognized. The [[scholar-official]] and artist {{ill|Ge Zhengqi|zh|葛徵奇}}, moved by a poem of hers, married her as a concubine.<ref name="lee et al">{{cite book|last1=Lee|first1=Lily Xiao Hong|last2=Lau|first2=Clara|last3=Stefanowska|first3=A.D.|title=Biographical Dictionary of Chinese Women: v. 1: The Qing Period, 1644-1911|url=https://books.google.com/books?id=y_4vCgAAQBAJ&pg=PA124|date=2015|publisher=Routledge|isbn=978-1-317-47588-0|pages=124–5}}</ref><ref>{{Cite web|url=https://www.cpr.cuhk.edu.hk/en/events_detail.php?id=13696&t=her-distinguished-brushwork-an-exhibition-featuring-paintings-by-the-seventeenth-century-artist-li-yin|title=Her Distinguished Brushwork: An Exhibition Featuring Paintings by the Seventeenth-Century Artist Li Yin|date=2017|website=Chinese University of Hong Kong|archive-url=|archive-date=|access-date=18 November 2019}}</ref> They had a close relationship and spent much time together painting and composing calligraphy.<ref name="lee et al" />
By the time she was in her teens, Li's talent in both art and poetry was already recognized. At 17, the [[scholar-official]] and artist Ge Zhengqi, moved by a poem of Li's, married her as a concubine.<ref name="lee et al">{{cite book|last1=Lee|first1=Lily Xiao Hong|last2=Lau|first2=Clara|last3=Stefanowska|first3=A.D.|title=Biographical Dictionary of Chinese Women: v. 1: The Qing Period, 1644-1911|url=https://books.google.com/books?id=y_4vCgAAQBAJ&pg=PA124|date=2015|publisher=Routledge|isbn=978-1-317-47588-0|pages=124–5}}</ref><ref>{{Cite web|url=https://www.cpr.cuhk.edu.hk/en/events_detail.php?id=13696&t=her-distinguished-brushwork-an-exhibition-featuring-paintings-by-the-seventeenth-century-artist-li-yin|title=Her Distinguished Brushwork: An Exhibition Featuring Paintings by the Seventeenth-Century Artist Li Yin|date=2017|website=Chinese University of Hong Kong|archive-url=|archive-date=|access-date=18 November 2019}}</ref> They had a close relationship and spent much time together painting and composing calligraphy.<ref name="lee et al" />


During the reign of the [[Chongzhen Emperor]], Ge served as an official in the imperial court in [[Beijing]], where he and Li lived for more than ten years.<ref name=":0" /> He travelled extensively for official business, and Li accompanied him to numerous places along the [[Yellow River]] and the [[Yangtze]] in their 15 years of marriage. She often composed poems about what she saw in her travels.<ref name="lee et al" />
During the reign of the [[Chongzhen Emperor]], Ge served as an official in the imperial court in [[Beijing]], where he and Li lived for more than ten years.<ref name=":0" /> He travelled extensively for official business, with Li accompanying him to numerous places along the [[Yellow River]] and the [[Yangtze]] in their 15 years of marriage. She often composed poems about what she saw in her travels.<ref name="lee et al" />


Near the end of the Chongzhen reign, Ming China became increasingly unstable. In 1643, Ge and Li left Beijing for [[Nanjing]], the country's southern capital. When they reached [[Suzhou, Anhui]], they encountered a military rebellion.<ref name=":0" /> Li, wounded in the chaos, stayed to search for her husband instead of fleeing the danger, and abandoned all her belongings except her poems. Ge was greatly moved by her loyalty and bravery. His disciple, Lu Chuan, later wrote prefaces to her poetry collections, in which he praises her as a loyal "minister" to Ge and compares her to the ancient beauty [[Xi Shi]].<ref name="Yang2017" />
Near the end of Chongzhen's reign, Ming China became increasingly unstable, leading Ge and Li to leave Beijing for [[Nanjing]], the country's southern capital, in 1643. Upon reaching [[Suzhou, Anhui|Suzhou]] in Anhui Province, they were attacked by members of a military rebellion.<ref name=":0" /> Li, wounded in the chaos, stayed to search for her husband instead of fleeing the danger, abandoning all her belongings except her poems. Ge was greatly moved by her loyalty and bravery, and his disciple, Lu Chuan, later wrote prefaces to Li's poetry collections, in which he praised her as a loyal "minister" to Ge and compares her to the ancient beauty [[Xi Shi]].<ref name="Yang2017" />


== Later life ==
== Later life ==
After the fall of the Ming, the Manchu [[Qing dynasty]] invaded China and Ge died of suicide in 1645 when Nanjing fell.<ref name=":0">{{Cite journal|author=Wu Lin 吴琳|date=August 2013|title=明清易代与才媛李因诗风之变|url=http://xbskb.jssvc.edu.cn/oa/pdfdow.aspx?Sid=20130411|journal=Journal of Suzhou College of Education|volume=30|issue=4|pages=40–42|language=zh|issn=1008-7931}}</ref> Li Yin lived alone at the Laughing Bamboo Studio in {{ill|Haichang|zh|海昌街道}}, Ge's hometown in the suburb of [[Haining]].<ref name="Yang2017" /> She lived for forty more years, supporting herself by selling her paintings.<ref name="weidner-cat" /><ref name="artes">{{cite web |last1=Arcano |first1=Katherine |title=The Artful Recluse: Painting, Poetry and Politics in 17th Century China |url=http://www.artesmagazine.com/?p=15538 |website=Artes Magazine |access-date=10 October 2019 |date=12 May 2014}}</ref> The renowned scholar [[Huang Zongxi]] wrote her biography.<ref name="lee et al" />
After the fall of the Ming dynasty in 1644, the Manchu [[Qing dynasty]] took control of Beijing, and set about conquering the rest of China. In 1645, Nanjing fell, with Ge committing suicide rather than submitting.<ref name=":0">{{Cite journal|author=Wu Lin 吴琳|date=August 2013|title=明清易代与才媛李因诗风之变|url=http://xbskb.jssvc.edu.cn/oa/pdfdow.aspx?Sid=20130411|journal=Journal of Suzhou College of Education|volume=30|issue=4|pages=40–42|language=zh|issn=1008-7931}}</ref> For the next 40 years, Li Yin lived alone and in poverty at the Laughing Bamboo Studio in Haichang, Ge's hometown in the suburb of [[Haining]].<ref name="Yang2017" /> In honor of Ge, she called herself "Weiwang Yin" (未亡人), or The Widow. Li found it hard to make ends meet, earning money through spinning and weaving, as well as painting professionally. Despite this, she still maintained her ambitions and interests, often sitting alone under a lonely lamp and reciting poems, which, due to the changes in her life, had a more profound and melancholy style than he earlier work.<ref name="weidner-cat" /><ref name="artes">{{cite web |last1=Arcano |first1=Katherine |title=The Artful Recluse: Painting, Poetry and Politics in 17th Century China |url=http://www.artesmagazine.com/?p=15538 |website=Artes Magazine |access-date=10 October 2019 |date=12 May 2014}}</ref><ref>{{cite web | url=https://www.hangchow.org/index.php/base/news_show/cid/5289 | title=Li Yin}}</ref> The renowned scholar [[Huang Zongxi]] wrote her biography.<ref name="lee et al" />


Li was childless. On her 70th birthday, she composed a poem expressing her mixed feelings on not having children:<ref name="Yang2017" />{{rp|39}}
On her 70th birthday, Li composed a poem expressing her mixed feelings on not having children:<ref name="Yang2017" />{{rp|39}}
{{Poemquote
{{Poemquote
|text=I have idled away seventy years of a floating life,
|text=I have idled away seventy years of a floating life,
Line 44: Line 44:
== Works==
== Works==
[[File:松鹰.jpg|thumb|upright|Pine and Eagle (1669)]]
[[File:松鹰.jpg|thumb|upright|Pine and Eagle (1669)]]
Over the course of her travels, Li Yin wrote 260 long and short poems that were published in two collections.<ref name="lee et al" />


Li Yin wrote 260 long and short poems, as well as the collections ''Zhuxiaoxuan Yincao'' (竹笑轩吟草) and ''Xu Zhuxiaoxuan Yincao'' (续竹笑轩吟草). Li Yin often compared herself to fellow poets [[Wang Wei (Tang dynasty)|Wang Wei]] of the Tang Dynasty,<ref name="lee et al" /><ref>{{cite web | url=https://www.hangchow.org/index.php/base/news_show/cid/5289 | title=Li Yin}}</ref> and [[Li Qingzhao]] of the Song Dynasty.<ref name="weidner-cat" />
⚫
Li Yin is noted for her paintings of flowers and birds, typically in ink monochrome with fluid brushstrokes. Her reputation was such that her paintings were considered an essential souvenir from Haichang and it is estimated there were forty imitators in the area turning out fakes of her works.<ref name="weidner-cat" /> She painted with a flowing ink style reminiscent of [[Chen Chun]] (1483–1544), and was considered one of the finest women painters by critic [[Qin Zuyong]].<ref name="lee et al" /><ref name="weidner-cat" /> Many of her paintings are in the collection of the [[Palace Museum]], including:<ref name="lee et al" />

⚫
Li Yin was chiefly noted for her paintings of flowers and birds, typically in ink monochrome with fluid brushstrokes. Her reputation was such that her paintings were considered an essential souvenir from Haichang, and it is estimated there were over forty imitators in the area producing fakes for gullible tourists.<ref name="weidner-cat" /> She painted with a flowing ink style reminiscent of the Ming dynasty painter [[Chen Chun]] (1483–1544), and was considered to be the finest female painter by critic Qin Zuyong.<ref name="lee et al" /><ref name="weidner-cat" /> Many of her paintings are in the collection of the [[Palace Museum]], including:<ref name="lee et al" />


*''Flowers and Birds''
*''Flowers and Birds''
*''Pine and Eagle''<ref name="weidner-cat">{{cite book |last1=Weidner |first1=Marsha |editor1-last=Weidner |editor1-first=Marsha |title=Views from Jade Terrace : Chinese women artists, 1300–1912 |date=1988 |publisher=Indianapolis Museum of Art |isbn=0847810038 |pages=[https://archive.org/details/viewsfromjadeter00weid/page/102 102–105] |chapter=catalogue |chapter-url=https://archive.org/details/viewsfromjadeter00weid/page/102 }}</ref>
*''Pine and Eagle''
*''Willows and Magpies''
*''Willows and Magpies''
*''Mynas and Pomegranates''
*''Mynas and Pomegranates''
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[[Category:17th-century Chinese poets]]
[[Category:17th-century Chinese poets]]
[[Category:Artists from Shaoxing]]
[[Category:Artists from Shaoxing]]
[[Category:Chinese Gējìs]]
[[Category:Chinese women painters]]
[[Category:Chinese women painters]]
[[Category:Chinese women poets]]
[[Category:Chinese women poets]]
[[Category:Ming dynasty calligraphers]]
[[Category:Ming dynasty calligraphers]]
[[Category:Ming dynasty Gējìs]]
[[Category:Ming dynasty poets]]
[[Category:Ming dynasty poets]]
[[Category:Poets from Zhejiang]]
[[Category:Poets from Zhejiang]]

Latest revision as of 23:25, 2 November 2024

In this Chinese name, the family name is Li.
Li Yin
Lotus flowers and birds, by Li Yin
BornC. 1610
Shaoxing, Zhejiang, Ming China
Died1685
Haining, Zhejiang, Qing China
NationalityChinese
Known forPainting, calligraphy, poetry
SpouseGe Zhengqi

Li Yin (Chinese: 李因; C. 1610 – 1685), also known by her courtesy name Jinsheng (今生) and her art names Shi'an (是庵) and Haichang Nüshi (海昌女史) or Kanshan Yishi (龛山逸史),[1][2] was a Chinese calligrapher,courtesan, painter, and poet during the late Ming and early Qing dynasties. She was noted for her illustration of flowers and birds. Her artwork was highly sought after during her lifetime, resulting in fakes being produced by more than forty imitators.[3]

Early life

[edit]

Li Yin was born in Kuaiji (Shaoxing), Zhejiang, during the late Ming dynasty. Various sources give her year of birth as 1610, 1611, or 1616.[1] Her family background is not known, but according to the biography by Huang Zongxi, her parents made her study poetry and painting from an early age.[3] Their financial circumstances were poor enough that she was said to have stored up liver mosses as paper and persimmon sticks to write with.[1] Later, she became a Geji performer to make extra money,[4] with Huang Zongxi comparing Li to her more famous contemporaries Wang Wei and Liu Rushi.[5][6] She studied painting under an otherwise unknown master named Ye Danian (葉大年), who helped develop her style in the manner of Chen Chun and Xu Wei, two renowned painters of the previous century.[7][3]

Marriage with Ge Zhengqi

[edit]

By the time she was in her teens, Li's talent in both art and poetry was already recognized. At 17, the scholar-official and artist Ge Zhengqi, moved by a poem of Li's, married her as a concubine.[1][8] They had a close relationship and spent much time together painting and composing calligraphy.[1]

During the reign of the Chongzhen Emperor, Ge served as an official in the imperial court in Beijing, where he and Li lived for more than ten years.[9] He travelled extensively for official business, with Li accompanying him to numerous places along the Yellow River and the Yangtze in their 15 years of marriage. She often composed poems about what she saw in her travels.[1]

Near the end of Chongzhen's reign, Ming China became increasingly unstable, leading Ge and Li to leave Beijing for Nanjing, the country's southern capital, in 1643. Upon reaching Suzhou in Anhui Province, they were attacked by members of a military rebellion.[9] Li, wounded in the chaos, stayed to search for her husband instead of fleeing the danger, abandoning all her belongings except her poems. Ge was greatly moved by her loyalty and bravery, and his disciple, Lu Chuan, later wrote prefaces to Li's poetry collections, in which he praised her as a loyal "minister" to Ge and compares her to the ancient beauty Xi Shi.[6]

Later life

[edit]

After the fall of the Ming dynasty in 1644, the Manchu Qing dynasty took control of Beijing, and set about conquering the rest of China. In 1645, Nanjing fell, with Ge committing suicide rather than submitting.[9] For the next 40 years, Li Yin lived alone and in poverty at the Laughing Bamboo Studio in Haichang, Ge's hometown in the suburb of Haining.[6] In honor of Ge, she called herself "Weiwang Yin" (未亡人), or The Widow. Li found it hard to make ends meet, earning money through spinning and weaving, as well as painting professionally. Despite this, she still maintained her ambitions and interests, often sitting alone under a lonely lamp and reciting poems, which, due to the changes in her life, had a more profound and melancholy style than he earlier work.[3][10][11] The renowned scholar Huang Zongxi wrote her biography.[1]

On her 70th birthday, Li composed a poem expressing her mixed feelings on not having children:[6]: 39 

I have idled away seventy years of a floating life,
My true self has comprehended theravada.
Luckily I am spared from concerns for my children when I die.
Only cuckoos will cry on the ancient trees over my tomb.

— Li Yin

Works

[edit]
Pine and Eagle (1669)

Li Yin wrote 260 long and short poems, as well as the collections Zhuxiaoxuan Yincao (竹笑轩吟草) and Xu Zhuxiaoxuan Yincao (续竹笑轩吟草). Li Yin often compared herself to fellow poets Wang Wei of the Tang Dynasty,[1][12] and Li Qingzhao of the Song Dynasty.[3]

Li Yin was chiefly noted for her paintings of flowers and birds, typically in ink monochrome with fluid brushstrokes. Her reputation was such that her paintings were considered an essential souvenir from Haichang, and it is estimated there were over forty imitators in the area producing fakes for gullible tourists.[3] She painted with a flowing ink style reminiscent of the Ming dynasty painter Chen Chun (1483–1544), and was considered to be the finest female painter by critic Qin Zuyong.[1][3] Many of her paintings are in the collection of the Palace Museum, including:[1]

  • Flowers and Birds
  • Pine and Eagle[3]
  • Willows and Magpies
  • Mynas and Pomegranates
  • Lotus and Mandarin Ducks
  • Flowers and Plants

Her other paintings include:[3]

  • Flowers of the Four Seasons, 1649. Ink on satin.
  • Yellow Hibiscus, date unknown, Ink on gold paper fan.
  • Rock, Bird, and Pear Blossoms, 1654. Ink and colour on gold paper fan.
  • Swallows and Peonies, 1673. Ink on satin hanging scroll.

References

[edit]
  1. ^ a b c d e f g h i j Lee, Lily Xiao Hong; Lau, Clara; Stefanowska, A.D. (2015). Biographical Dictionary of Chinese Women: v. 1: The Qing Period, 1644-1911. Routledge. pp. 124–5. ISBN 978-1-317-47588-0.
  2. ^ "The smart emotions and free souls revealed in the paintings of women in the Ming Dynasty".
  3. ^ a b c d e f g h i Weidner, Marsha (1988). "catalogue". In Weidner, Marsha (ed.). Views from Jade Terrace : Chinese women artists, 1300–1912. Indianapolis Museum of Art. pp. 102–105. ISBN 0847810038.
  4. ^ "Talented girl Li Yin's ink peonies".
  5. ^ "CUHK exhibits works by female painters of Ming Dynasty".
  6. ^ a b c d Yang, Haihong (2017). Women's Poetry and Poetics in Late Imperial China: A Dialogic Engagement. Lexington Books. pp. 34–36. ISBN 978-1-4985-3787-2.
  7. ^ Sun Lisheng 孙黎生 (27 March 2018). "才女李因的水墨牡丹". Guangming Daily. Retrieved 16 October 2019.
  8. ^ "Her Distinguished Brushwork: An Exhibition Featuring Paintings by the Seventeenth-Century Artist Li Yin". Chinese University of Hong Kong. 2017. Retrieved 18 November 2019.
  9. ^ a b c Wu Lin 吴琳 (August 2013). "明清易代与才媛李因诗风之变". Journal of Suzhou College of Education (in Chinese). 30 (4): 40–42. ISSN 1008-7931.
  10. ^ Arcano, Katherine (12 May 2014). "The Artful Recluse: Painting, Poetry and Politics in 17th Century China". Artes Magazine. Retrieved 10 October 2019.
  11. ^ "Li Yin".
  12. ^ "Li Yin".
[edit]
  • Media related to Li Yin at Wikimedia Commons
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