From the Tang dynasty on, Go became one of the "Four Scholarly Arts," closely tied to elite cultural life. It fostered social bonds, appeared in scholarly gatherings, and served as both pastime and poetic muse. Scholars often wagered art and tea in "elegant bets," and used Go to express friendship, resilience, and reflections on life's impermanence. Through their words and images, we glimpse the joy and emotion stirred by the game.

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  The Eighteen Scholars in the Isle of Immortals Attributed to Qiu Ying, Ming Dynasty Hanging scroll

  • 223x102
  • Gu Hua 000487

  This painting is traditionally attributed to Qiu Ying (ca. 1494-1552), one of the Four Masters of the Ming dynasty. It depicts the "Eighteen Scholars," a theme based on Emperor Taizong of Tang (r. 626-649) and his circle of loyal ministers who helped lay the foundation for a golden age. Later interpretations likened the scholars' ascent to Mount Penglai to a successful official career, making the subject a popular motif. While such scenes are often set in gardens, this version places the scholars in a misty paradise of green peaks and cliffs. The lively postures of the players contrast with the loosely rendered game board—missing even the white stones.

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  Nine Elders of the Fragrant Hills Huang Biao, Ming Dynasty Handscroll

  • 27.2x193
  • Gu Hua 001639

  After retiring, Tang poet Bai Juyi (772-846) formed a poetry club with eight fellow elders in Xiangshan, Luoyang, later known as the "Nine Elders of the Fragrant Hills"—a favorite subject for later literati gatherings. This Ming painting by Suzhou artist Huang Biao (1522-after 1594) is based on a Song-dynasty (960-1279) version. Set amid pines and blossoms, the elders are shown reading, dancing, and playing Go with charming expressions. The Go players are identified by inscriptions as Bai Juyi and Liu Zhen (dates unknown). Though unevenly drawn, the board has 19 vertical and horizontal lines, matching a standard Go grid. Unfortunately, it is unclear which player held the black or white stones, making it impossible to reconstruct the game's progression.

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  Poem on Brahman Aspiration Huang Tingjian, Song Dynasty Album leaf

  • Each Leaf: 29.8x28.4
  • Zeng Tie 000058

  In 1100, Northern Song dynasty calligrapher Huang Tingjian (1045-1105) stopped at the home of Liao Zhiping (courtesy name Yangzheng, active ca. 2^nd half of 11^th century) in Niukou Village en route to Qingshen, Sichuan. There, they spent the night drinking, playing Go, and tossing arrows into a wine vessel—a popular game of the time. Inspired, Huang composed poetry and an inscription scroll, though only the colophon survives today as Inscription on the Qingyi River, the largest extant example of his calligraphy, now housed in China's National Museum. This painting is a late-Ming (1368-1644) copy, reflecting the admiration for Huang's distinctive calligraphic style in the Suzhou area (Southeast China).

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  Miscellaneous Transcriptions of Shu Shi's Poems, Qing Dynasty

  • 28.2x297.2
  • Zeng Shu 000179

  This powerful calligraphy by Qing scholar Qian Feng (1740-1795) features several poems by the Song dynasty writer Su Shi (1037-1101). One poem recalls Su's deep friendship with Zhang Zhong (dates unknown), a local official he met during exile in remote Danzhou, Hainan. In his darkest days, Su found comfort in drinking and playing Go with Zhang. Zhang even risked his career to shelter Su, eventually losing his post. Before parting, Su wrote three farewell poems—one of which is featured here—fondly remembering their nights spent playing Go, with every line expressing warmth, gratitude, and the sorrow of saying goodbye.

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  Five-Character Archaic Verse Lou Jian, Ming Dynasty Handscroll

  • 27.7x272.6
  • Gu Shu 000131
  • Significant Antiquity

  Luo Jian (1567-1631), one of the "Four Gentlemen of Jiading" in the late Ming, was known for his poetry, calligraphy, and love of Go. This five-character poem, included in his collected works, was written to comfort his friend "Chun Zhong"(dates unknown) after a family loss. Luo often played Go with him and composed this verse using the game as a metaphor for life, urging his friend to view life and death with the same detachment one brings to winning and losing in a match. The flowing brushwork reflects Luo's study of Su Shi (1037-1101) and Mi Fu's （1051-1108）Song-dynasty calligraphic styles.