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</div> <div class="pre-content heading-holder"> <div class="page-heading"> <h1 id="firstHeading" class="firstHeading mw-first-heading">The True Record</h1> <div class="tagline"></div> </div> <ul id="p-associated-pages" class="minerva__tab-container"> <li class="minerva__tab selected mw-list-item"> <a class="minerva__tab-text" href="/wiki/The_True_Record" rel="" data-event-name="tabs.main">Article</a> </li> <li class="minerva__tab mw-list-item"> <a class="minerva__tab-text" href="/wiki/Talk:The_True_Record" rel="discussion" data-event-name="tabs.talk">Talk</a> </li> </ul> <nav class="page-actions-menu"> <ul id="p-views" class="page-actions-menu__list minerva-icon-only-menu"> <li id="language-selector" class="page-actions-menu__list-item"> <a role="button" href="#p-lang" data-mw="interface" data-event-name="menu.languages" title="Language" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet language-selector"> Language </a> </li> <li id="page-actions-watch" class="page-actions-menu__list-item"> <a role="button" id="ca-watch" href="/w/index.php?title=Special:UserLogin&returnto=The+True+Record" data-event-name="menu.watch" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet menu__item--page-actions-watch"> Watch </a> </li> <li id="page-actions-edit" class="page-actions-menu__list-item"> <a role="button" id="ca-edit" href="/w/index.php?title=The_True_Record&action=edit" data-event-name="menu.edit" data-mw="interface" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet edit-page menu__item--page-actions-edit"> Edit </a> </li> </ul> </nav>  <div id="mw-content-subtitle"></div> </div> <div id="bodyContent" class="content"> <div id="mw-content-text" class="mw-body-content"><script>function mfTempOpenSection(id){var block=document.getElementById("mf-section-"+id);block.className+=" open-block";block.previousSibling.className+=" open-block";}</script><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><section class="mf-section-0" id="mf-section-0"> <style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style>The True Record (<a href="/wiki/Simplified_Chinese_characters" title="Simplified Chinese characters">simplified Chinese</a>: 真相画报; <a href="/wiki/Traditional_Chinese_characters" title="Traditional Chinese characters">traditional Chinese</a>: 真相畫報; <a href="/wiki/Pinyin" title="Pinyin">pinyin</a>: Zhēnxiāng Huàbào) was a pictorial magazine published in <a href="/wiki/Shanghai" title="Shanghai">Shanghai</a>, China, between June 1912 and March or April 1913. The magazine was established by brothers <a href="/wiki/Gao_Qifeng" title="Gao Qifeng">Gao Qifeng</a> and <a href="/wiki/Gao_Jianfu" title="Gao Jianfu">Gao Jianfu</a> as the nascent <a href="/wiki/Republic_of_China_(1912%E2%80%931949)" title="Republic of China (1912–1949)">Republic of China</a> was seeking to develop a <a href="/wiki/New_Culture_Movement" title="New Culture Movement">new culture</a> after centuries of <a href="/wiki/Qing_dynasty" title="Qing dynasty">Qing</a> rule. It sought to monitor the new republic, report the welfare of the people, promote socialism, and distribute world knowledge. Under the Gaos and fellow editor <a href="/wiki/Huang_Binhong" title="Huang Binhong">Huang Binhong</a>, the magazine published seventeen issues and expanded its reach from China through Southeast Asia and to Hawaii. Fervently supportive of <a href="/wiki/Sun_Yat-sen" title="Sun Yat-sen">Sun Yat-sen</a> and the nationalist movement, the magazine was critical of Provisional President <a href="/wiki/Yuan_Shikai" title="Yuan Shikai">Yuan Shikai</a> and closed during a time when he was consolidating his power. <table class="infobox hproduct"><caption class="infobox-title fn">The True Record</caption><tbody><tr><td colspan="2" class="infobox-image"><a href="/wiki/File:The_True_Record_vol_1,_issue_1_(color)_HQ.jpg" class="mw-file-description"><img alt="A faded magazine dover depicting a man touching a banner. The text is entirely in Chinese." src="//upload.wikimedia.org/wikipedia/commons/thumb/3/35/The_True_Record_vol_1%2C_issue_1_%28color%29_HQ.jpg/220px-The_True_Record_vol_1%2C_issue_1_%28color%29_HQ.jpg" decoding="async" width="220" height="318" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/35/The_True_Record_vol_1%2C_issue_1_%28color%29_HQ.jpg/330px-The_True_Record_vol_1%2C_issue_1_%28color%29_HQ.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/35/The_True_Record_vol_1%2C_issue_1_%28color%29_HQ.jpg/440px-The_True_Record_vol_1%2C_issue_1_%28color%29_HQ.jpg 2x" data-file-width="1080" data-file-height="1563"></a><div class="infobox-caption">The first issue of The True Record</div></td></tr><tr><th scope="row" class="infobox-label"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Native name</div></th><td class="infobox-data"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1257001546"></td></tr><tr><th scope="row" class="infobox-label" style="font-weight:normal;"><a href="/wiki/Traditional_Chinese_characters" title="Traditional Chinese characters">Traditional Chinese</a></th><td class="infobox-data"><a href="https://en.wiktionary.org/wiki/%E7%9C%9F%E7%9B%B8" class="extiw" title="wikt:真相">真相</a><a href="https://en.wiktionary.org/wiki/%E7%95%AB%E5%A0%B1" class="extiw" title="wikt:畫報">畫報</a></td></tr><tr><th scope="row" class="infobox-label" style="font-weight:normal;"><a href="/wiki/Simplified_Chinese_characters" title="Simplified Chinese characters">Simplified Chinese</a></th><td class="infobox-data"><a href="https://en.wiktionary.org/wiki/%E7%9C%9F%E7%9B%B8" class="extiw" title="wikt:真相">真相</a><a href="https://en.wiktionary.org/wiki/%E7%94%BB%E6%8A%A5" class="extiw" title="wikt:画报">画报</a></td></tr><tr><td colspan="2" class="infobox-full-data"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1257001546"><table class="infobox-subbox mw-collapsible mw-collapsed"><tbody><tr><th colspan="2" class="infobox-above" style="font-size: 100%; text-align: left; background-color: #f9ffbc;">Transcriptions</th></tr><tr><th colspan="2" class="infobox-header" style="background-color: #dcffc9;"><a href="/wiki/Standard_Chinese" title="Standard Chinese">Standard Mandarin</a></th></tr><tr><th scope="row" class="infobox-label" style="font-weight:normal;"><a href="/wiki/Hanyu_Pinyin" class="mw-redirect" title="Hanyu Pinyin">Hanyu Pinyin</a></th><td class="infobox-data">Zhēnxiāng Huàbào</td></tr><tr><th scope="row" class="infobox-label" style="font-weight:normal;"><a href="/wiki/Wade%E2%80%93Giles" title="Wade–Giles">Wade–Giles</a></th><td class="infobox-data">Chen1hsiang1 Hua4pao4</td></tr></tbody></table></td></tr><tr style="display:none"><td colspan="2"> </td></tr><tr><th scope="row" class="infobox-label">Editor</th><td class="infobox-data"><a href="/wiki/Gao_Qifeng" title="Gao Qifeng">Gao Qifeng</a></td></tr><tr><th scope="row" class="infobox-label">Categories</th><td class="infobox-data">Art, politics, current events</td></tr><tr><th scope="row" class="infobox-label">Frequency</th><td class="infobox-data">Irregular</td></tr><tr><th scope="row" class="infobox-label">Publisher</th><td class="infobox-data">Aesthetic Institute</td></tr><tr><th scope="row" class="infobox-label">First issue</th><td class="infobox-data">5 June 1912; 112 years ago (1912-06-05)</td></tr><tr><th scope="row" class="infobox-label">Final issue</th><td class="infobox-data">March or April 1913</td></tr><tr><th scope="row" class="infobox-label">Company</th><td class="infobox-data">The True Record Press<a href="#cite_note-FOOTNOTELiang2022-1">[1]</a></td></tr><tr><th scope="row" class="infobox-label">Country</th><td class="infobox-data"><a href="/wiki/Republic_of_China_(1912%E2%80%931949)" title="Republic of China (1912–1949)">Republic of China</a></td></tr><tr><th scope="row" class="infobox-label">Based in</th><td class="infobox-data">Shanghai</td></tr><tr><th scope="row" class="infobox-label">Language</th><td class="infobox-data"><a href="/wiki/Vernacular_written_Chinese" class="mw-redirect" title="Vernacular written Chinese">Vernacular written Chinese</a>, with English captions</td></tr></tbody></table> Produced using a combination of <a href="/wiki/Intaglio_(printmaking)" title="Intaglio (printmaking)">copperplate printing</a> and <a href="/wiki/Collotype" title="Collotype">collotype</a>, The True Record featured colourful covers as well as numerous photographs and illustrations. Between its pages, seven types of imagery were included, from paintings and photographs to satirical <a href="/wiki/Manhua" title="Manhua">manhua</a>. Articles covered such topics as traditional and modern art, current events, technological innovations, and politics; works of creative writing were also included. Essays called for the creation of a "new national art", as well as the expansion of the national economy through <a href="/wiki/Industrial_art" class="mw-redirect" title="Industrial art">industrial art</a> and other means. Despite having been published for less than one year, The True Record has been described as one of the most important illustrated magazines of the first years of the Republic of China. <div id="toc" class="toc" role="navigation" aria-labelledby="mw-toc-heading"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none"><div class="toctitle" lang="en" dir="ltr"><h2 id="mw-toc-heading">Contents</h2><label class="toctogglelabel" for="toctogglecheckbox"></label></div> <ul> <li class="toclevel-1 tocsection-1"><a href="#History">1 History</a> <ul> <li class="toclevel-2 tocsection-2"><a href="#Background">1.1 Background</a></li> <li class="toclevel-2 tocsection-3"><a href="#Establishment">1.2 Establishment</a></li> <li class="toclevel-2 tocsection-4"><a href="#Publication">1.3 Publication</a></li> <li class="toclevel-2 tocsection-5"><a href="#Closure">1.4 Closure</a></li> </ul> </li> <li class="toclevel-1 tocsection-6"><a href="#Description_and_content">2 Description and content</a> <ul> <li class="toclevel-2 tocsection-7"><a href="#Imagery">2.1 Imagery</a></li> <li class="toclevel-2 tocsection-8"><a href="#Text">2.2 Text</a></li> </ul> </li> <li class="toclevel-1 tocsection-9"><a href="#Impact_and_analysis">3 Impact and analysis</a></li> <li class="toclevel-1 tocsection-10"><a href="#Explanatory_notes">4 Explanatory notes</a></li> <li class="toclevel-1 tocsection-11"><a href="#References">5 References</a></li> <li class="toclevel-1 tocsection-12"><a href="#Works_cited">6 Works cited</a></li> </ul> </div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(1)"><h2 id="History">History</h2> <a role="button" href="/w/index.php?title=The_True_Record&action=edit&section=1" title="Edit section: History" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-1 collapsible-block" id="mf-section-1"> <div class="mw-heading mw-heading3"><h3 id="Background">Background</h3> <a role="button" href="/w/index.php?title=The_True_Record&action=edit&section=2" title="Edit section: Background" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> In the late 19th and early 20th centuries, the <a href="/wiki/Qing_dynasty" title="Qing dynasty">Qing dynasty</a> – which had ruled China since the 17th century – faced growing <a href="/wiki/Anti-Qing_sentiment" title="Anti-Qing sentiment">opposition</a> from various revolutionary groups. After a series of failed uprisings, in October 1911 an <a href="/wiki/Wuchang_Uprising" title="Wuchang Uprising">uprising broke out in Wuchang</a> that spread through the country. <a href="/wiki/Yuan_Shikai" title="Yuan Shikai">Yuan Shikai</a>, the General of the <a href="/wiki/Beiyang_Army" title="Beiyang Army">Beiyang Army</a>, was initially tasked with ending the rebellion.<a href="#cite_note-FOOTNOTEMcKenna2023-2">[2]</a> Ultimately, he allied with the rebels, and negotiated the abdication of <a href="/wiki/Puyi" title="Puyi">Emperor Puyi</a>.<a href="#cite_note-FOOTNOTEFloriani2023231-3">[3]</a> The <a href="/wiki/Republic_of_China_(1912%E2%80%931949)" title="Republic of China (1912–1949)">Republic of China</a> was proclaimed on 1 January 1912, with <a href="/wiki/Sun_Yat-sen" title="Sun Yat-sen">Sun Yat-sen</a>, the leader of the <a href="/wiki/Tongmenghui" title="Tongmenghui">Tongmenghui</a>, a major resistance group, as its provisional president.<a href="#cite_note-4">[a]</a><a href="#cite_note-FOOTNOTEMcKenna2023-2">[2]</a> As the nascent nation sought a <a href="/wiki/New_Culture_Movement" title="New Culture Movement">new culture</a>, the philosopher and revolutionary <a href="/wiki/Cai_Yuanpei" title="Cai Yuanpei">Cai Yuanpei</a> advocated for using aesthetic education to cultivate awareness of its needs.<a href="#cite_note-5">[4]</a> Nineteen magazines began publication in this era, collectively serving to capitalize on demand for new, modern materials.<a href="#cite_note-FOOTNOTEAndrews201822-6">[5]</a> Unlike earlier Chinese publications, which often produced using <a href="/wiki/Woodblock_printing" title="Woodblock printing">woodblock printing</a> on soft paper and bound in plain paper or cloth, these new magazines used modern printing technology and illustrated covers.<a href="#cite_note-FOOTNOTEAndrews201823-7">[6]</a> The True Record was one such magazine, though according to Julia F. Andrews of <a href="/wiki/Ohio_State_University" title="Ohio State University">Ohio State University</a>, it was characterized more by its political mission than the commercial enterprises of its contemporaries.<a href="#cite_note-FOOTNOTEAndrews201826-8">[7]</a> <div class="mw-heading mw-heading3"><h3 id="Establishment">Establishment</h3> <a role="button" href="/w/index.php?title=The_True_Record&action=edit&section=3" title="Edit section: Establishment" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Gao_Qifeng,_Liangyou_November_1931,_p26.jpg" class="mw-file-description"><noscript><img alt="A black-and-white picture of a man, looking forward. He is wearing a white shirt." src="//upload.wikimedia.org/wikipedia/commons/thumb/2/20/Gao_Qifeng%2C_Liangyou_November_1931%2C_p26.jpg/170px-Gao_Qifeng%2C_Liangyou_November_1931%2C_p26.jpg" decoding="async" width="170" height="229" class="mw-file-element" data-file-width="838" data-file-height="1130"></noscript><span class="lazy-image-placeholder" style="width: 170px;height: 229px;" data-mw-src="//upload.wikimedia.org/wikipedia/commons/thumb/2/20/Gao_Qifeng%2C_Liangyou_November_1931%2C_p26.jpg/170px-Gao_Qifeng%2C_Liangyou_November_1931%2C_p26.jpg" data-alt="A black-and-white picture of a man, looking forward. He is wearing a white shirt." data-width="170" data-height="229" data-mw-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/20/Gao_Qifeng%2C_Liangyou_November_1931%2C_p26.jpg/255px-Gao_Qifeng%2C_Liangyou_November_1931%2C_p26.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/20/Gao_Qifeng%2C_Liangyou_November_1931%2C_p26.jpg/340px-Gao_Qifeng%2C_Liangyou_November_1931%2C_p26.jpg 2x" data-class="mw-file-element"> </a><figcaption><a href="/wiki/Gao_Qifeng" title="Gao Qifeng">Gao Qifeng</a>, editor-in-chief of The True Record</figcaption></figure> The True Record was established by <a href="/wiki/Gao_Qifeng" title="Gao Qifeng">Gao Qifeng</a> and <a href="/wiki/Gao_Jianfu" title="Gao Jianfu">Gao Jianfu</a>,<a href="#cite_note-FOOTNOTEPanXu2011132-9">[8]</a> artists from <a href="/wiki/Guangdong" title="Guangdong">Guangdong</a> who, while studying in Japan in the late 1900s, had joined the Tongmenghui. They returned to China in 1908, with Gao Jianfu leading a revolutionary cell that was responsible for several assassinations.<a href="#cite_note-FOOTNOTEAndrewsShen201235-10">[9]</a> Gao Qifeng became the editor-in-chief of the new magazine<a href="#cite_note-FOOTNOTEFloriani2023224-11">[10]</a> and Gao Jianfu and <a href="/wiki/Huang_Binhong" title="Huang Binhong">Huang Binhong</a> became supporting editors.<a href="#cite_note-FOOTNOTEGu2013131-12">[11]</a> Also involved were several alumni of the <a href="/wiki/Journal_of_Current_Pictorial" title="Journal of Current Pictorial">Journal of Current Pictorial</a> including <a href="/wiki/He_Jianshi" title="He Jianshi">He Jianshi</a> and Zheng Leiquan (鄭磊泉), who had used their <a href="/wiki/Manhua" title="Manhua">manhua</a> (comics) to criticize the Qing dynasty.<a href="#cite_note-FOOTNOTEWong200214-13">[12]</a> Another artist, <a href="/wiki/Kwan_Wai-nung" title="Kwan Wai-nung">Kwan Wai-nung</a>, travelled from <a href="/wiki/Hong_Kong" title="Hong Kong">Hong Kong</a> to contribute to the publication.<a href="#cite_note-FOOTNOTECochran2006121-14">[13]</a> Further contributions came from <a href="/wiki/Chen_Shuren" title="Chen Shuren">Chen Shuren</a>, a colleague of the Gaos in Japan,<a href="#cite_note-FOOTNOTECroizier202368-15">[14]</a> and <a href="/wiki/Xu_Beihong" title="Xu Beihong">Xu Beihong</a>, an employee of their bookstore.<a href="#cite_note-FOOTNOTEChu199869-16">[15]</a> Headquartered at No. 4 Road, Huifu Lane, <a href="/wiki/Shanghai" title="Shanghai">Shanghai</a>,<a href="#cite_note-FOOTNOTELiang2022-1">[1]</a> The True Record provided the mailing address of 45 Wei Foo Lee (<a href="/wiki/Foochow_Road" class="mw-redirect" title="Foochow Road">Foochow Road</a>)<a href="#cite_note-17">[b]</a> on its cover.<a href="#cite_note-FOOTNOTEWong200232-18">[16]</a> In February 1913, operations moved to Middle Section No. 84, Chessboard Street, also in Shanghai.<a href="#cite_note-19">[c]</a><a href="#cite_note-FOOTNOTELiang2022-1">[1]</a> Publication was handled by the Aesthetic Institute,<a href="#cite_note-FOOTNOTEAndrewsShen201235-10">[9]</a> a combined gallery, exhibition hall, and publishing house that also sold reproductions of Chinese and western paintings.<a href="#cite_note-20">[17]</a> The Commerce Culture Print Shop did the printing,<a href="#cite_note-FOOTNOTELiang2022-1">[1]</a> using a combination of <a href="/wiki/Intaglio_(printmaking)" title="Intaglio (printmaking)">copperplate printing</a> and <a href="/wiki/Collotype" title="Collotype">collotype</a>.<a href="#cite_note-FOOTNOTEHongLi2022-21">[18]</a> Some photography for The True Record was provided by the Guangdong-based China Photo Team (中华写真队),<a href="#cite_note-FOOTNOTEPanXu2011132-9">[8]</a> which had been established by Sun with the support of the provincial government to cover republican war efforts;<a href="#cite_note-FOOTNOTEPanXu2011134-22">[19]</a> funding for the magazine's publication has also been alleged to have come from the government.<a href="#cite_note-FOOTNOTEWarra199962-23">[20]</a> After The True Record published its second issue, the China Photo Team – headquartered at Provincial Capital Bund No. 2 Road in <a href="/wiki/Guangzhou" title="Guangzhou">Guangzhou</a> – was rebranded the Guangdong Branch of the True Record Press.<a href="#cite_note-FOOTNOTELiang2022-1">[1]</a> Distribution of the magazine was handled by both the Shanghai and Guangdong offices.<a href="#cite_note-FOOTNOTEPanXu2011132-9">[8]</a> <div class="mw-heading mw-heading3"><h3 id="Publication">Publication</h3> <a role="button" href="/w/index.php?title=The_True_Record&action=edit&section=4" title="Edit section: Publication" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> The first edition of The True Record was published on 5 June 1912. It was prefaced by introductions from Li Huaishuang (李怀霜), Xie Yingbo (谢英伯), and <a href="/wiki/Hu_Hanmin" title="Hu Hanmin">Hu Hanmin</a>, all of whom were Tongmenghui members.<a href="#cite_note-FOOTNOTEPanXu2011132-9">[8]</a> In his contribution, Li introduced Gao Qifeng, highlighting his revolutionary activities, and provided the magazine's mission statement: to monitor the new republic, report the welfare of the people, promote socialism, and distribute world knowledge.<a href="#cite_note-24">[d]</a><a href="#cite_note-FOOTNOTEPanXu2011132-9">[8]</a> Initially, The True Record was scheduled to publish a new issue every ten days, with a target of ten-thousand words per issue.<a href="#cite_note-FOOTNOTEPanXu2011133-25">[21]</a> The price was a quarter <a href="/wiki/Yuan_(currency)" title="Yuan (currency)">yuan</a> (equivalent to ¥43 in 2019) per copy, or seven yuan (equivalent to ¥1,200 in 2019) for a one-year subscription<a href="#cite_note-FOOTNOTEFloriani2023224-11">[10]</a> – expected to be 36 issues. This schedule was ultimately not realized and publication was irregular.<a href="#cite_note-FOOTNOTEFloriani2023236-26">[22]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:The_True_Record_vol_1_no_3_(July_1912).jpg" class="mw-file-description"><noscript><img alt="A color image of a magazine cover. It depicts a man in a suit pulling back a curtain, revealing two Chinese characters." src="//upload.wikimedia.org/wikipedia/commons/thumb/0/02/The_True_Record_vol_1_no_3_%28July_1912%29.jpg/250px-The_True_Record_vol_1_no_3_%28July_1912%29.jpg" decoding="async" width="170" height="259" class="mw-file-element" data-file-width="482" data-file-height="734"></noscript><span class="lazy-image-placeholder" style="width: 170px;height: 259px;" data-mw-src="//upload.wikimedia.org/wikipedia/commons/thumb/0/02/The_True_Record_vol_1_no_3_%28July_1912%29.jpg/250px-The_True_Record_vol_1_no_3_%28July_1912%29.jpg" data-alt="A color image of a magazine cover. It depicts a man in a suit pulling back a curtain, revealing two Chinese characters." data-width="170" data-height="259" data-mw-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/02/The_True_Record_vol_1_no_3_%28July_1912%29.jpg/330px-The_True_Record_vol_1_no_3_%28July_1912%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/02/The_True_Record_vol_1_no_3_%28July_1912%29.jpg/340px-The_True_Record_vol_1_no_3_%28July_1912%29.jpg 2x" data-class="mw-file-element"> </a><figcaption>Beginning with the third issue, The True Record included its English-language title.</figcaption></figure> Over time, The True Record expanded its reach. Initially distributed throughout China via its offices in Shanghai and Guangdong, by the fourth issue a branch office had been established at the Cao Wanfeng Bookstore in Singapore, serving Southeast Asia. Distribution had reached Honolulu, Hawaii, by the seventh issue.<a href="#cite_note-27">[e]</a> As the magazine expanded its distribution networks, it sought to internationalize. With the third issue, the English-language title The True Record was provided alongside a mailing address. The subtitle "Illustrated Magazine" was included beginning with the fourth issue. Captions were provided in English and Chinese.<a href="#cite_note-28">[f]</a><a href="#cite_note-FOOTNOTEPanXu2011133-25">[21]</a> <div class="mw-heading mw-heading3"><h3 id="Closure">Closure</h3> <a role="button" href="/w/index.php?title=The_True_Record&action=edit&section=5" title="Edit section: Closure" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> In February 1912, President Sun had ceded leadership of the republic to Yuan, honouring an earlier agreement.<a href="#cite_note-FOOTNOTEFloriani2023231-3">[3]</a> As the new provisional president consolidated his power, he began to suppress the <a href="/wiki/Kuomintang" title="Kuomintang">Nationalist Party</a> – which dominated the <a href="/wiki/1912_Chinese_National_Assembly_election" class="mw-redirect" title="1912 Chinese National Assembly election">1912 National Assembly election</a> – and curtail its activities,<a href="#cite_note-FOOTNOTERoberts201360-29">[23]</a> with publications deemed too critical of his government censored.<a href="#cite_note-FOOTNOTEFloriani2023224-11">[10]</a> In March 1913, <a href="/wiki/Song_Jiaoren" title="Song Jiaoren">Song Jiaoren</a> was assassinated at <a href="/wiki/Shanghai_railway_station" title="Shanghai railway station">Shanghai station</a>, with Yuan rumoured to have been involved;<a href="#cite_note-30">[g]</a><a href="#cite_note-FOOTNOTEFloriani2023233-31">[24]</a> a nationalist leader, Song had broad popular support and had openly opposed Yuan.<a href="#cite_note-FOOTNOTESpence2013265-32">[25]</a> The True Record closed during this period, publishing its seventeenth and final issue in March<a href="#cite_note-FOOTNOTELiang2022-1">[1]</a> or April 1913.<a href="#cite_note-FOOTNOTEFloriani2023224-11">[10]</a> Sources differ as to the reason. The comics scholar Wendy Siuyi Wong writes that the magazine was banned;<a href="#cite_note-FOOTNOTEWong200233-33">[26]</a> this is supported by Tang Hongfeng of <a href="/wiki/Beijing_Normal_University" title="Beijing Normal University">Beijing Normal University</a>, who suggests that its implication of Yuan and <a href="/wiki/Zhao_Bingjun" title="Zhao Bingjun">Zhao Bingjun</a> in Song's assassination was the deciding factor.<a href="#cite_note-FOOTNOTETang2018116-34">[27]</a> The art historian Christina Chu describes the magazine as closing after government funding was pulled;<a href="#cite_note-FOOTNOTEChu199869-16">[15]</a> this is supported by Andrews, who notes that the magazine's lavish production values would have limited its commercial viability without subsidies,<a href="#cite_note-FOOTNOTEAndrews201826-8">[7]</a> as well as the art historian Ralph Croizier, who writes that the magazine had difficulty attracting advertisers.<a href="#cite_note-FOOTNOTECroizier2023171-35">[28]</a> Many of the magazine's staff left Shanghai after its closure. Zheng fled to Hong Kong, dying there by the end of the decade.<a href="#cite_note-FOOTNOTEWong200214-13">[12]</a> Kwan returned to Hong Kong, where he used the tiger-painting techniques he had learned from the Gaos to advertise <a href="/wiki/Tiger_Balm" title="Tiger Balm">Tiger Balm</a>.<a href="#cite_note-FOOTNOTECochran2006122-36">[29]</a> Gao Qifeng may have undergone a self-imposed exile in Japan, where he had studied the previous decade, returning some time later.<a href="#cite_note-37">[h]</a> Such flights were common among nationalists, with Sun escaping to Japan in August 1913.<a href="#cite_note-FOOTNOTEFloriani2023233-31">[24]</a> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(2)"><h2 id="Description_and_content">Description and content</h2> <a role="button" href="/w/index.php?title=The_True_Record&action=edit&section=6" title="Edit section: Description and content" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-2 collapsible-block" id="mf-section-2"> The True Record was printed in black ink on thin <a href="/wiki/Acid_paper" class="mw-redirect" title="Acid paper">acid paper</a>. Covers used higher quality paper,<a href="#cite_note-FOOTNOTEAndrews201826-8">[7]</a> allowing the printing of <a href="/wiki/Half-tone" class="mw-redirect" title="Half-tone">half-tone</a> colour illustrations. Some issues featured colour insets<a href="#cite_note-FOOTNOTEFloriani2023224-11">[10]</a> and many contained <a href="/wiki/Centerfold" title="Centerfold">fold-outs</a> that could be removed for display.<a href="#cite_note-38">[i]</a><a href="#cite_note-FOOTNOTERoberts201359-39">[30]</a> Issues were 18 by 27 centimetres (7.1 in × 10.6 in) in size, and ranged in length from fifty to eighty pages.<a href="#cite_note-FOOTNOTEFloriani2023224-11">[10]</a> <div class="mw-heading mw-heading3"><h3 id="Imagery">Imagery</h3> <a role="button" href="/w/index.php?title=The_True_Record&action=edit&section=7" title="Edit section: Imagery" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Works_by_our_artists,_The_True_Record_11_(1912).jpg" class="mw-file-description"><noscript><img alt="A monochrome image of seven paintings, identified as having been produced by the staff of The True Record" src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Works_by_our_artists%2C_The_True_Record_11_%281912%29.jpg/170px-Works_by_our_artists%2C_The_True_Record_11_%281912%29.jpg" decoding="async" width="170" height="240" class="mw-file-element" data-file-width="756" data-file-height="1067"></noscript><span class="lazy-image-placeholder" style="width: 170px;height: 240px;" data-mw-src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Works_by_our_artists%2C_The_True_Record_11_%281912%29.jpg/170px-Works_by_our_artists%2C_The_True_Record_11_%281912%29.jpg" data-alt="A monochrome image of seven paintings, identified as having been produced by the staff of The True Record" data-width="170" data-height="240" data-mw-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Works_by_our_artists%2C_The_True_Record_11_%281912%29.jpg/255px-Works_by_our_artists%2C_The_True_Record_11_%281912%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Works_by_our_artists%2C_The_True_Record_11_%281912%29.jpg/340px-Works_by_our_artists%2C_The_True_Record_11_%281912%29.jpg 2x" data-class="mw-file-element"> </a><figcaption>Drawings by staff members, featured in Issue 11 of The True Record</figcaption></figure> The Gao brothers believed that pictorials could best serve to educate the populace, as contemporary literacy rates were low and thus images had further reach than text.<a href="#cite_note-FOOTNOTEPanXu2011132-9">[8]</a> Consequently, imagery was extensively used in The True Record. In the first issue, the magazine enumerated seven types of images that it sought to publish: historical painting, art painting, photographic paintings of geology, parodic paintings, photographic paintings of current affairs, photographic paintings of scenic spots, and paintings of current affairs.<a href="#cite_note-40">[j]</a><a href="#cite_note-FOOTNOTEPanXu2011133-25">[21]</a> The use of thick paper allowed The True Record to feature extensive colour on its covers.<a href="#cite_note-FOOTNOTEAndrews201826-8">[7]</a> Subjects were diverse, but often involved individuals uncovering a truth.<a href="#cite_note-FOOTNOTETang2018116-34">[27]</a> The cover of the first edition depicted a young artist, garbed in clothing reflective of a Western <a href="/wiki/Bohemianism" title="Bohemianism">bohemian</a>, sitting on a stool and leaning toward a banner bearing the title of the magazine.<a href="#cite_note-FOOTNOTEGu2013134-41">[31]</a> The cover of the third issue, published on 1 July 1912, depicted a man in a western suit pulling a curtain back, revealing the Chinese word 真相 ("truth").<a href="#cite_note-FOOTNOTERoberts201358-42">[32]</a> The final issue of The True Record depicted a man in Western garb, looking into a mirror and seeing the spirit of a <a href="/wiki/Mandarin_(bureaucrat)" title="Mandarin (bureaucrat)">Mandarin</a>; Tang suggests that this was intended to criticize Yuan Shikai.<a href="#cite_note-FOOTNOTETang2018116-34">[27]</a> Many of these covers were produced by Gao Qifeng.<a href="#cite_note-FOOTNOTERoberts201358-42">[32]</a> The pages of The True Record contained numerous paintings by the Gaos and other artists,<a href="#cite_note-FOOTNOTEAndrewsShen201235-10">[9]</a> with two issues including sections dedicated to the staff artists.<a href="#cite_note-FOOTNOTELiang2022-1">[1]</a> Tigers were commonly depicted, <a href="/wiki/Allegory" title="Allegory">allegorically</a> calling for boldness and bravery in the nation-building process;<a href="#cite_note-FOOTNOTECochran2006121-14">[13]</a> lions and eagles, favourites of Gao Qifeng that were understood to reflect a revolutionary spirit,<a href="#cite_note-FOOTNOTEGuangdong_Museum,_Gao_Qifeng-43">[33]</a> also appeared.<a href="#cite_note-FOOTNOTEFloriani2023224-11">[10]</a> Political manhua, satirizing topics that ranged from political parties and corruption to <a href="/wiki/Miser" title="Miser">misers</a> and <a href="/wiki/Social_parasitism_(offense)" title="Social parasitism (offense)">social parasites</a>, were included in many issues. Some are signed, generally with pseudonyms, while others are uncredited.<a href="#cite_note-44">[k]</a><a href="#cite_note-45">[34]</a> Almost two hundred photographs<a href="#cite_note-46">[l]</a> were included in The True Record throughout its run, including thirty in the first issue alone.<a href="#cite_note-FOOTNOTEPanXu2011133-25">[21]</a> The political activities of Sun Yat-sen were covered extensively, with a particular focus on his interactions with the common person.<a href="#cite_note-FOOTNOTEFloriani2023228-47">[35]</a> Military subjects such as field exercises and the naval fleet were frequently depicted as well.<a href="#cite_note-FOOTNOTEPanXu2011134-22">[19]</a> International stories also featured, with three issues<a href="#cite_note-48">[m]</a> including coverage of the <a href="/wiki/Balkan_Wars" title="Balkan Wars">Balkan Wars</a>.<a href="#cite_note-FOOTNOTEPanXu2011134-22">[19]</a> <div class="mw-heading mw-heading3"><h3 id="Text">Text</h3> <a role="button" href="/w/index.php?title=The_True_Record&action=edit&section=8" title="Edit section: Text" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> Art was frequently discussed in the articles of The True Record. In essays, the Gaos called for the creation of a "new national art", based on the synthesis of traditional <a href="/wiki/Chinese_painting" title="Chinese painting">Chinese painting</a> with foreign art, as well as improvements in art education.<a href="#cite_note-FOOTNOTEAndrewsShen201235-10">[9]</a> Huang decried the abstraction of <a href="/wiki/Literati_painting" class="mw-redirect" title="Literati painting">literati</a> approaches to <a href="/wiki/Landscape_painting" title="Landscape painting">landscape painting</a> and urged greater <a href="/wiki/Verisimilitude" title="Verisimilitude">verisimilitude</a>.<a href="#cite_note-FOOTNOTEGu2013133-49">[36]</a> Chen, over the course of fifteen issues, serialized his translation of a Japanese book on new painting methods derived from western traditions. Excluding certain chapters, such as discussions of <a href="/wiki/Watercolour" class="mw-redirect" title="Watercolour">watercolour</a>, his adaptation also expanded its coverage to include references to ancient masters such as <a href="/wiki/Wang_Wei_(Tang_dynasty)" title="Wang Wei (Tang dynasty)">Wang Wei</a> and <a href="/wiki/Wu_Daozi" title="Wu Daozi">Wu Daozi</a>.<a href="#cite_note-FOOTNOTEPanXu2011215%E2%80%93216-50">[37]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:%E5%AE%8B%E6%95%99%E4%BB%81%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E8%A8%98%EF%BC%9A%E5%AE%8B%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E5%BE%8C%E4%B9%8B%E9%81%BA%E5%83%8F%EF%BC%88%E4%B8%80%EF%BC%89.png" class="mw-file-description"><noscript><img alt="A page from a magazine, with Chinese-language text detailing the assassination of Song Jiaoren. At the center is a photograph showing the dead body of a man in western clothing." src="//upload.wikimedia.org/wikipedia/commons/thumb/1/18/%E5%AE%8B%E6%95%99%E4%BB%81%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E8%A8%98%EF%BC%9A%E5%AE%8B%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E5%BE%8C%E4%B9%8B%E9%81%BA%E5%83%8F%EF%BC%88%E4%B8%80%EF%BC%89.png/170px-%E5%AE%8B%E6%95%99%E4%BB%81%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E8%A8%98%EF%BC%9A%E5%AE%8B%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E5%BE%8C%E4%B9%8B%E9%81%BA%E5%83%8F%EF%BC%88%E4%B8%80%EF%BC%89.png" decoding="async" width="170" height="244" class="mw-file-element" data-file-width="1702" data-file-height="2438"></noscript><span class="lazy-image-placeholder" style="width: 170px;height: 244px;" data-mw-src="//upload.wikimedia.org/wikipedia/commons/thumb/1/18/%E5%AE%8B%E6%95%99%E4%BB%81%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E8%A8%98%EF%BC%9A%E5%AE%8B%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E5%BE%8C%E4%B9%8B%E9%81%BA%E5%83%8F%EF%BC%88%E4%B8%80%EF%BC%89.png/170px-%E5%AE%8B%E6%95%99%E4%BB%81%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E8%A8%98%EF%BC%9A%E5%AE%8B%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E5%BE%8C%E4%B9%8B%E9%81%BA%E5%83%8F%EF%BC%88%E4%B8%80%EF%BC%89.png" data-alt="A page from a magazine, with Chinese-language text detailing the assassination of Song Jiaoren. At the center is a photograph showing the dead body of a man in western clothing." data-width="170" data-height="244" data-mw-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/18/%E5%AE%8B%E6%95%99%E4%BB%81%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E8%A8%98%EF%BC%9A%E5%AE%8B%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E5%BE%8C%E4%B9%8B%E9%81%BA%E5%83%8F%EF%BC%88%E4%B8%80%EF%BC%89.png/255px-%E5%AE%8B%E6%95%99%E4%BB%81%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E8%A8%98%EF%BC%9A%E5%AE%8B%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E5%BE%8C%E4%B9%8B%E9%81%BA%E5%83%8F%EF%BC%88%E4%B8%80%EF%BC%89.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/18/%E5%AE%8B%E6%95%99%E4%BB%81%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E8%A8%98%EF%BC%9A%E5%AE%8B%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E5%BE%8C%E4%B9%8B%E9%81%BA%E5%83%8F%EF%BC%88%E4%B8%80%EF%BC%89.png/340px-%E5%AE%8B%E6%95%99%E4%BB%81%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E8%A8%98%EF%BC%9A%E5%AE%8B%E5%85%88%E7%94%9F%E8%A2%AB%E5%88%BA%E5%BE%8C%E4%B9%8B%E9%81%BA%E5%83%8F%EF%BC%88%E4%B8%80%EF%BC%89.png 2x" data-class="mw-file-element"> </a><figcaption>Coverage of <a href="/wiki/Song_Jiaoren" title="Song Jiaoren">Song Jiaoren</a>'s assassination</figcaption></figure> Other articles explored the <a href="/wiki/History_of_art" title="History of art">history of art</a> and artists. Gao Jianfu, for instance, discussed <a href="/wiki/Ju_Chao" title="Ju Chao">Ju Chao</a> – a relative of his own teacher, <a href="/wiki/Ju_Lian" title="Ju Lian">Ju Lian</a> – in a 1913 issue, praising his graceful brushstrokes and vibrant colours.<a href="#cite_note-FOOTNOTETaoYang2017214%E2%80%93215-51">[38]</a> Huang detailed the history of painting in the <a href="/wiki/Song_dynasty" title="Song dynasty">Song</a> and two other dynasties over the course of more than twelve instalments.<a href="#cite_note-FOOTNOTENishigami20186-52">[39]</a> Three issues provided a comparative overview of <a href="/wiki/Ink_painting" class="mw-redirect" title="Ink painting">ink</a> and <a href="/wiki/Oil_painting" title="Oil painting">oil painting</a> in different countries, presenting images of representative works along with introductions to their artists.<a href="#cite_note-53">[n]</a><a href="#cite_note-FOOTNOTELiang2022-1">[1]</a> Elsewhere, articles explored the practice of art globally,<a href="#cite_note-FOOTNOTEPanXu2011215-54">[40]</a> or provided insight into <a href="/wiki/Chinese_ceramics" title="Chinese ceramics">ceramics</a> and <a href="/wiki/Sketch_(drawing)" title="Sketch (drawing)">pencil drawing</a>.<a href="#cite_note-FOOTNOTEPanXu2011215%E2%80%93216-50">[37]</a> Several works of creative fiction, both prose and poetry, were also included.<a href="#cite_note-FOOTNOTEHongLi2022-21">[18]</a> To fulfil its social mandate, The True Record also offered news and social commentary.<a href="#cite_note-FOOTNOTEAndrewsShen201235-10">[9]</a> These generally promoted the perspectives of the nationalist movement, such that the magazine has been described as its mouthpiece.<a href="#cite_note-FOOTNOTELiang2022-1">[1]</a> The advancement of the nation was often discussed. One article argued that technology news could promote innovation and stimulate social progress<a href="#cite_note-55">[o]</a><a href="#cite_note-FOOTNOTEWarra199969-56">[41]</a> and indeed new technologies from waterbikes to armaments were featured. Others urged <a href="/wiki/Economic_nationalism" title="Economic nationalism">economic nationalism</a> and the expansion of <a href="/wiki/Industrial_art" class="mw-redirect" title="Industrial art">industrial art</a><a href="#cite_note-FOOTNOTEWarra199970%E2%80%9371-57">[42]</a> or condemned the practice of miserly living.<a href="#cite_note-FOOTNOTEWarra199982-58">[43]</a> Sun Yat-sen featured prominently in the magazine, which drew parallels between the nationalist leader and the <a href="/wiki/Hongwu_Emperor" title="Hongwu Emperor">Hongwu Emperor</a>, who had risen from the peasantry to lead China. He was depicted as interacting extensively with others in society, distinguishing him from the earlier Qing emperors.<a href="#cite_note-FOOTNOTEFloriani2023226-59">[44]</a> Several articles detailed individuals who had fought against the Qing dynasty, such as <a href="/wiki/Shi_Jianru" title="Shi Jianru">Shi Jianru</a>,<a href="#cite_note-FOOTNOTEXia2017203-60">[45]</a> who had attempted to kill the Qing governor of Guangdong in 1900,<a href="#cite_note-FOOTNOTEWakeman2003168-61">[46]</a> and <a href="/w/index.php?title=Bai_Yukun&action=edit&redlink=1" class="new" title="Bai Yukun (page does not exist)">Bai Yukun</a> [<a href="https://zh.wikipedia.org/wiki/%E7%99%BD%E6%AF%93%E6%98%86" class="extiw" title="zh:白毓昆">zh</a>],<a href="#cite_note-FOOTNOTEXia2017203-60">[45]</a> who had been killed in the <a href="/w/index.php?title=Luanzhou_Uprising&action=edit&redlink=1" class="new" title="Luanzhou Uprising (page does not exist)">Luanzhou Uprising</a> [<a href="https://zh.wikipedia.org/wiki/%E6%BB%A6%E5%B7%9E%E5%85%B5%E5%8F%98" class="extiw" title="zh:滦州兵变">zh</a>].<a href="#cite_note-FOOTNOTEDaiWang2019171-62">[47]</a> Some articles, such as "Chu Ziwen Destroys His Family to Help the Country",<a href="#cite_note-63">[p]</a> extolled the virtues of persons who continued to contribute to the nationalist cause; it asked, "the country is the family. If the country does not exist, where is the family?".<a href="#cite_note-64">[q]</a><a href="#cite_note-FOOTNOTEPanXu2011115-65">[48]</a> Initially, nationalist publications such as The True Record had supported Yuan and his <a href="/wiki/Beiyang_government" title="Beiyang government">Beiyang government</a>. However, as it became increasingly authoritarian, the president received extensive criticism.<a href="#cite_note-FOOTNOTECai2023-66">[49]</a> Problems such as an ineffective government and weak bureaucracy were highlighted.<a href="#cite_note-FOOTNOTEWong200233-33">[26]</a> This peaked in 1913, when The True Record published an article detailing Song's assassination. Two photographs of Song's corpse accompanied the article, one clothed and the other nude from the waist up, which Gu Zheng of <a href="/wiki/Fudan_University" title="Fudan University">Fudan University</a> describes as consciously included to increase public outrage and highlight the cruelty of the killing.<a href="#cite_note-67">[50]</a> Yuan, meanwhile, was included in a list of persons related to the killing; his photograph depicted him not in the military uniform of the revolutionary, but adornments of one serving the Qing.<a href="#cite_note-FOOTNOTEFloriani2023233-31">[24]</a> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(3)"><h2 id="Impact_and_analysis">Impact and analysis</h2> <a role="button" href="/w/index.php?title=The_True_Record&action=edit&section=9" title="Edit section: Impact and analysis" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-3 collapsible-block" id="mf-section-3"> Pan Yaochang and Xu Li of the <a href="/wiki/Shanghai_Academy_of_Fine_Arts" title="Shanghai Academy of Fine Arts">Shanghai Academy of Fine Arts</a> argue that, by turning to the international world of art, The True Record drew the vitality needed to "push the culture and art of Shanghai to a new height";<a href="#cite_note-68">[r]</a><a href="#cite_note-FOOTNOTEPanXu2011133-25">[21]</a> at the same time, they write that its ideas contributed to the concepts of aesthetic education that marked the <a href="/wiki/May_Fourth_Movement" title="May Fourth Movement">May Fourth Movement</a>.<a href="#cite_note-FOOTNOTEPanXu2011138-69">[51]</a> Gao Qifeng, Gao Jianfu, and Chen Shuren later expanded upon their concept of "national art", developing what has become known as the <a href="/wiki/Lingnan_School" title="Lingnan School">Lingnan school of painting</a> by blending Chinese, <a href="/wiki/Japanese_painting" title="Japanese painting">Japanese</a>, and <a href="/wiki/Western_painting" title="Western painting">western</a> techniques.<a href="#cite_note-FOOTNOTECai2023-66">[49]</a> In the realm of publication, The True Record was one of the first illustrated magazines in the Republic of China,<a href="#cite_note-FOOTNOTEGu2013131-12">[11]</a> as well as its first art journal.<a href="#cite_note-70">[52]</a> Liang Desuo, an editor of the pictorial magazine <a href="/wiki/The_Young_Companion" title="The Young Companion">The Young Companion</a>, considered it to be the beginning of photography in Chinese pictorial magazines;<a href="#cite_note-FOOTNOTEPanXu2011133-25">[21]</a> photographs had appeared in domestic publications as early as the mid-1900s, but without <a href="/wiki/Photozincography" title="Photozincography">photozincography</a> their use had been limited.<a href="#cite_note-FOOTNOTEFloriani2023224-11">[10]</a> In her history of photography in China, Claire Roberts describes The True Record as one of the most important illustrated magazines published in the first years of the republic.<a href="#cite_note-FOOTNOTERoberts201358-42">[32]</a> The magazine's usage of photography has drawn extensive discussion. Yi Gu of the <a href="/wiki/University_of_Toronto" title="University of Toronto">University of Toronto</a> writes that The True Record is among the best examples of the process through which photography was used side-by-side with other forms of imagery, including prints, manhua, and reproductions of paintings to create new understandings of "truth" in Chinese visual culture.<a href="#cite_note-71">[s]</a><a href="#cite_note-FOOTNOTEGu2013133%E2%80%93134-72">[53]</a> Other scholars have prioritized the magazine's photographic content. Citing its coverage of revolutionaries, the communication scholar Xia Yi of <a href="/wiki/Nanjing_Xiaozhuang_University" class="mw-redirect" title="Nanjing Xiaozhuang University">Nanjing Xiaozhuang University</a> argues that The True Record positioned photography as a more timely and objective medium.<a href="#cite_note-FOOTNOTEXia2017203-60">[45]</a> Pan and Xu note that, by employing photography, the magazine was better able to report current affairs; while earlier publications such as the 19th-century <a href="/wiki/Dianshizhai_Pictorial" title="Dianshizhai Pictorial">Dianshizhai Pictorial</a><a href="#cite_note-73">[t]</a> had contained some news coverage, they relied on hand-drawn illustrations and thus their photography tended to place greater emphasis on everyday life.<a href="#cite_note-FOOTNOTEPanXu2011134-22">[19]</a> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(4)"><h2 id="Explanatory_notes">Explanatory notes</h2> <a role="button" href="/w/index.php?title=The_True_Record&action=edit&section=10" title="Edit section: Explanatory notes" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-4 collapsible-block" id="mf-section-4"> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-lower-alpha"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-4"><a href="#cite_ref-4">^</a> At the time, Emperor Puyi still sat on the throne. He did not formally abdicate until 12 February 1912 (<a href="#CITEREFSpence2013">Spence 2013</a>, p. 263). </li> <li id="cite_note-17"><a href="#cite_ref-17">^</a> Also known as Fuzhou Road (福州路); this street was renowned as a center of the book trade in Shanghai (<a href="#CITEREFWarra1999">Warra 1999</a>, p. 63). </li> <li id="cite_note-19"><a href="#cite_ref-19">^</a> Shanghai, a <a href="/wiki/Port_of_Shanghai" title="Port of Shanghai">major port</a>, was at a crossroads of western and eastern cultures; it thus attracted young intellectuals and progressives from throughout China (<a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 131). By the 1910s, it had gained a reputation for modernity and cosmopolitanism (<a href="#CITEREFWarra1999">Warra 1999</a>, p. 61). </li> <li id="cite_note-24"><a href="#cite_ref-24">^</a> Such a mission was reflective of Sun Yat-sen's <a href="/wiki/Three_Principles_of_the_People" title="Three Principles of the People">Three Principles of the People</a> (<a href="#CITEREFFloriani2023">Floriani 2023</a>, p. 225). </li> <li id="cite_note-27"><a href="#cite_ref-27">^</a> Sun Yat-sen had spent time in Hawaii before and during his exile, with six recorded visits. He had established the <a href="/wiki/Revive_China_Society" title="Revive China Society">Revive China Society</a> in Honolulu in 1894, and by 1912 Hawaii still hosted numerous Chinese nationalists and revolutionaries (<a href="#CITEREFLumLum1999">Lum & Lum 1999</a>, pp. vi–vii) </li> <li id="cite_note-28"><a href="#cite_ref-28">^</a> <a href="#CITEREFPanXu2011">Pan & Xu (2011</a>, p. 133) write that this bilingual approach had several benefits: it suited the needs of Shanghai, which had a large <a href="/wiki/Shanghai_International_Settlement" title="Shanghai International Settlement">Western population</a>; it facilitated efforts to reach international audiences; and it allowed Chinese culture and art to be shared with non-Chinese readers. </li> <li id="cite_note-30"><a href="#cite_ref-30">^</a> Yuan was widely blamed for the assassination at the time. Several of the persons implicated (such as <a href="/wiki/Ying_Guixin" title="Ying Guixin">Ying Guixin</a> and <a href="/wiki/Zhao_Bingjun" title="Zhao Bingjun">Zhao Bingjun</a>) were ultimately assassinated, and Yuan was consequently never officially implicated (<a href="#CITEREFSpence2013">Spence 2013</a>, pp. 266–267; <a href="#CITEREFDillon2021">Dillon 2021</a>, p. 164). </li> <li id="cite_note-37"><a href="#cite_ref-37">^</a> In <a href="/wiki/Grove_Art_Online" title="Grove Art Online">Grove Art Online</a>, Tian S. Liang writes that Gao returned to China in early 1914 (<a href="#CITEREFLiang2022">Liang 2022</a>), while the author <a href="/w/index.php?title=Cai_Dengshan&action=edit&redlink=1" class="new" title="Cai Dengshan (page does not exist)">Cai Dengshan</a> [<a href="https://zh.wikipedia.org/wiki/%E8%94%A1%E7%99%BB%E5%B1%B1" class="extiw" title="zh:蔡登山">zh</a>] asserts that he only returned after Yuan Shikai's death in 1916 (<a href="#CITEREFCai2023">Cai 2023</a>). However, covering the life of Gao Qifeng for the <a href="/wiki/Southern_Metropolis_Daily" title="Southern Metropolis Daily">Southern Metropolis Daily</a>, <a href="#CITEREFWang2008">Wang (2008)</a> notes that this exile narrative is not universally accepted. </li> <li id="cite_note-38"><a href="#cite_ref-38">^</a> For example, the first issue offered three panoramas of <a href="/wiki/Wuhan" title="Wuhan">Wuhan</a>, respectively depicting <a href="/wiki/Hanyang,_Wuhan" title="Hanyang, Wuhan">Hanyang</a> and <a href="/wiki/Hankou" title="Hankou">Hankou</a>, the <a href="/wiki/Han_River_(Hubei_and_Shaanxi)" title="Han River (Hubei and Shaanxi)">Han</a> and <a href="/wiki/Yangtze" title="Yangtze">Yangtze Rivers</a>, and <a href="/wiki/Wuchang,_Wuhan" title="Wuchang, Wuhan">Wuchang</a> (<a href="#CITEREFRoberts2013">Roberts 2013</a>, p. 59). </li> <li id="cite_note-40"><a href="#cite_ref-40">^</a> Original: ｢历史画, 美术画, 地势写真画, 滑稽画, 时事写真画, 名胜写真画和时事画｣. Translation by <a href="#CITEREFLiang2022">Liang (2022)</a>. </li> <li id="cite_note-44"><a href="#cite_ref-44">^</a> The magazine's primary political cartoonists He Jianshi, Zheng Nuquan, and Ma Xingchi (马星驰) used more than a dozen pen-names between them (<a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 134). </li> <li id="cite_note-46"><a href="#cite_ref-46">^</a> Chinese has several terms for photography, including 摄影 (shèyǐng) and 照片 (zhàopiàn). The True Record used the term 寫真 (xiězhēn), which <a href="#CITEREFFloriani2023">Floriani (2023</a>, p. 225) translates as "transcription of truth". </li> <li id="cite_note-48"><a href="#cite_ref-48">^</a> Issues 12, 13, and 14. </li> <li id="cite_note-53"><a href="#cite_ref-53">^</a> One article in this series, by Chen, introduced the work of the painter of animals <a href="/wiki/Edwin_Landseer" title="Edwin Landseer">Edwin Landseer</a> (<a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 70). </li> <li id="cite_note-55"><a href="#cite_ref-55">^</a> This article was translated from a Japanese source and serialized between Issue 1 and Issue 8, non-consecutively (<a href="#CITEREFWarra1999">Warra 1999</a>, p. 69). </li> <li id="cite_note-63"><a href="#cite_ref-63">^</a> Original: ｢楚子文毁家纾国难｣. </li> <li id="cite_note-64"><a href="#cite_ref-64">^</a> Original: ｢国即是家, 国之不存, 家于何有｣ </li> <li id="cite_note-68"><a href="#cite_ref-68">^</a> Original ｢将上海这座都市的文化艺术推向一个崭新的高｣. </li> <li id="cite_note-71"><a href="#cite_ref-71">^</a> Highlighting one article that combined a sixteen-image series depicting a moulting <a href="/wiki/Cicada" title="Cicada">cicada</a> with taxonomic discussion of the insects as well as poems that had accompanied paintings of them, <a href="#CITEREFGu2013">Gu (2013</a>, p. 133) notes that the magazine "accentuate[s] the positive potential of photography" while assimilating it into the narrative truth offered by pre-modern Chinese painting. This, she suggests, is reinforced by the covers of the first two editions, which respectively depicted a painter and a photographer (<a href="#CITEREFGu2013">Gu 2013</a>, p. 134). </li> <li id="cite_note-73"><a href="#cite_ref-73">^</a> This magazine was a supplement to the newspaper <a href="/wiki/Shen_Bao" title="Shen Bao">Shen Bao</a> (<a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 134). </li> </ol></div></div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(5)"><h2 id="References">References</h2> <a role="button" href="/w/index.php?title=The_True_Record&action=edit&section=11" title="Edit section: References" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-5 collapsible-block" id="mf-section-5"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239543626"><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-FOOTNOTELiang2022-1">^ <a href="#cite_ref-FOOTNOTELiang2022_1-0">a</a> <a href="#cite_ref-FOOTNOTELiang2022_1-1">b</a> <a href="#cite_ref-FOOTNOTELiang2022_1-2">c</a> <a href="#cite_ref-FOOTNOTELiang2022_1-3">d</a> <a href="#cite_ref-FOOTNOTELiang2022_1-4">e</a> <a href="#cite_ref-FOOTNOTELiang2022_1-5">f</a> <a href="#cite_ref-FOOTNOTELiang2022_1-6">g</a> <a href="#cite_ref-FOOTNOTELiang2022_1-7">h</a> <a href="#cite_ref-FOOTNOTELiang2022_1-8">i</a> <a href="#CITEREFLiang2022">Liang 2022</a>. </li> <li id="cite_note-FOOTNOTEMcKenna2023-2">^ <a href="#cite_ref-FOOTNOTEMcKenna2023_2-0">a</a> <a href="#cite_ref-FOOTNOTEMcKenna2023_2-1">b</a> <a href="#CITEREFMcKenna2023">McKenna 2023</a>. </li> <li id="cite_note-FOOTNOTEFloriani2023231-3">^ <a href="#cite_ref-FOOTNOTEFloriani2023231_3-0">a</a> <a href="#cite_ref-FOOTNOTEFloriani2023231_3-1">b</a> <a href="#CITEREFFloriani2023">Floriani 2023</a>, p. 231. </li> <li id="cite_note-5"><a href="#cite_ref-5">^</a> <a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 131; 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<a href="#CITEREFZhu2017">Zhu 2017</a> </li> <li id="cite_note-FOOTNOTEHongLi2022-21">^ <a href="#cite_ref-FOOTNOTEHongLi2022_21-0">a</a> <a href="#cite_ref-FOOTNOTEHongLi2022_21-1">b</a> <a href="#CITEREFHongLi2022">Hong & Li 2022</a>. </li> <li id="cite_note-FOOTNOTEPanXu2011134-22">^ <a href="#cite_ref-FOOTNOTEPanXu2011134_22-0">a</a> <a href="#cite_ref-FOOTNOTEPanXu2011134_22-1">b</a> <a href="#cite_ref-FOOTNOTEPanXu2011134_22-2">c</a> <a href="#cite_ref-FOOTNOTEPanXu2011134_22-3">d</a> <a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 134. </li> <li id="cite_note-FOOTNOTEWarra199962-23"><a href="#cite_ref-FOOTNOTEWarra199962_23-0">^</a> <a href="#CITEREFWarra1999">Warra 1999</a>, p. 62. </li> <li id="cite_note-FOOTNOTEPanXu2011133-25">^ <a href="#cite_ref-FOOTNOTEPanXu2011133_25-0">a</a> <a href="#cite_ref-FOOTNOTEPanXu2011133_25-1">b</a> <a href="#cite_ref-FOOTNOTEPanXu2011133_25-2">c</a> <a href="#cite_ref-FOOTNOTEPanXu2011133_25-3">d</a> <a href="#cite_ref-FOOTNOTEPanXu2011133_25-4">e</a> <a href="#cite_ref-FOOTNOTEPanXu2011133_25-5">f</a> <a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 133. </li> <li id="cite_note-FOOTNOTEFloriani2023236-26"><a href="#cite_ref-FOOTNOTEFloriani2023236_26-0">^</a> <a href="#CITEREFFloriani2023">Floriani 2023</a>, p. 236. </li> <li id="cite_note-FOOTNOTERoberts201360-29"><a href="#cite_ref-FOOTNOTERoberts201360_29-0">^</a> <a href="#CITEREFRoberts2013">Roberts 2013</a>, p. 60. </li> <li id="cite_note-FOOTNOTEFloriani2023233-31">^ <a href="#cite_ref-FOOTNOTEFloriani2023233_31-0">a</a> <a href="#cite_ref-FOOTNOTEFloriani2023233_31-1">b</a> <a href="#cite_ref-FOOTNOTEFloriani2023233_31-2">c</a> <a href="#CITEREFFloriani2023">Floriani 2023</a>, p. 233. </li> <li id="cite_note-FOOTNOTESpence2013265-32"><a href="#cite_ref-FOOTNOTESpence2013265_32-0">^</a> <a href="#CITEREFSpence2013">Spence 2013</a>, p. 265. </li> <li id="cite_note-FOOTNOTEWong200233-33">^ <a href="#cite_ref-FOOTNOTEWong200233_33-0">a</a> <a href="#cite_ref-FOOTNOTEWong200233_33-1">b</a> <a href="#CITEREFWong2002">Wong 2002</a>, p. 33. </li> <li id="cite_note-FOOTNOTETang2018116-34">^ <a href="#cite_ref-FOOTNOTETang2018116_34-0">a</a> <a href="#cite_ref-FOOTNOTETang2018116_34-1">b</a> <a href="#cite_ref-FOOTNOTETang2018116_34-2">c</a> <a href="#CITEREFTang2018">Tang 2018</a>, p. 116. </li> <li id="cite_note-FOOTNOTECroizier2023171-35"><a href="#cite_ref-FOOTNOTECroizier2023171_35-0">^</a> <a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 171. </li> <li id="cite_note-FOOTNOTECochran2006122-36"><a href="#cite_ref-FOOTNOTECochran2006122_36-0">^</a> <a href="#CITEREFCochran2006">Cochran 2006</a>, p. 122. </li> <li id="cite_note-FOOTNOTERoberts201359-39"><a href="#cite_ref-FOOTNOTERoberts201359_39-0">^</a> <a href="#CITEREFRoberts2013">Roberts 2013</a>, p. 59. </li> <li id="cite_note-FOOTNOTEGu2013134-41"><a href="#cite_ref-FOOTNOTEGu2013134_41-0">^</a> <a href="#CITEREFGu2013">Gu 2013</a>, p. 134. </li> <li id="cite_note-FOOTNOTERoberts201358-42">^ <a href="#cite_ref-FOOTNOTERoberts201358_42-0">a</a> <a href="#cite_ref-FOOTNOTERoberts201358_42-1">b</a> <a href="#cite_ref-FOOTNOTERoberts201358_42-2">c</a> <a href="#CITEREFRoberts2013">Roberts 2013</a>, p. 58. </li> <li id="cite_note-FOOTNOTEGuangdong_Museum,_Gao_Qifeng-43"><a href="#cite_ref-FOOTNOTEGuangdong_Museum,_Gao_Qifeng_43-0">^</a> <a href="#CITEREFGuangdong_Museum,_Gao_Qifeng">Guangdong Museum, Gao Qifeng</a>. </li> <li id="cite_note-45"><a href="#cite_ref-45">^</a> <a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 134; <a href="#CITEREFWong2002">Wong 2002</a>, p. 33 </li> <li id="cite_note-FOOTNOTEFloriani2023228-47"><a href="#cite_ref-FOOTNOTEFloriani2023228_47-0">^</a> <a href="#CITEREFFloriani2023">Floriani 2023</a>, p. 228. </li> <li id="cite_note-FOOTNOTEGu2013133-49"><a href="#cite_ref-FOOTNOTEGu2013133_49-0">^</a> <a href="#CITEREFGu2013">Gu 2013</a>, p. 133. </li> <li id="cite_note-FOOTNOTEPanXu2011215–216-50">^ <a href="#cite_ref-FOOTNOTEPanXu2011215%E2%80%93216_50-0">a</a> <a href="#cite_ref-FOOTNOTEPanXu2011215%E2%80%93216_50-1">b</a> <a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, pp. 215–216. </li> <li id="cite_note-FOOTNOTETaoYang2017214–215-51"><a href="#cite_ref-FOOTNOTETaoYang2017214%E2%80%93215_51-0">^</a> <a href="#CITEREFTaoYang2017">Tao & Yang 2017</a>, pp. 214–215. </li> <li id="cite_note-FOOTNOTENishigami20186-52"><a href="#cite_ref-FOOTNOTENishigami20186_52-0">^</a> <a href="#CITEREFNishigami2018">Nishigami 2018</a>, p. 6. </li> <li id="cite_note-FOOTNOTEPanXu2011215-54"><a href="#cite_ref-FOOTNOTEPanXu2011215_54-0">^</a> <a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 215. </li> <li id="cite_note-FOOTNOTEWarra199969-56"><a href="#cite_ref-FOOTNOTEWarra199969_56-0">^</a> <a href="#CITEREFWarra1999">Warra 1999</a>, p. 69. </li> <li id="cite_note-FOOTNOTEWarra199970–71-57"><a href="#cite_ref-FOOTNOTEWarra199970%E2%80%9371_57-0">^</a> <a href="#CITEREFWarra1999">Warra 1999</a>, pp. 70–71. </li> <li id="cite_note-FOOTNOTEWarra199982-58"><a href="#cite_ref-FOOTNOTEWarra199982_58-0">^</a> <a href="#CITEREFWarra1999">Warra 1999</a>, p. 82. </li> <li id="cite_note-FOOTNOTEFloriani2023226-59"><a href="#cite_ref-FOOTNOTEFloriani2023226_59-0">^</a> <a href="#CITEREFFloriani2023">Floriani 2023</a>, p. 226. </li> <li id="cite_note-FOOTNOTEXia2017203-60">^ <a href="#cite_ref-FOOTNOTEXia2017203_60-0">a</a> <a href="#cite_ref-FOOTNOTEXia2017203_60-1">b</a> <a href="#cite_ref-FOOTNOTEXia2017203_60-2">c</a> <a href="#CITEREFXia2017">Xia 2017</a>, p. 203. </li> <li id="cite_note-FOOTNOTEWakeman2003168-61"><a href="#cite_ref-FOOTNOTEWakeman2003168_61-0">^</a> <a href="#CITEREFWakeman2003">Wakeman 2003</a>, p. 168. </li> <li id="cite_note-FOOTNOTEDaiWang2019171-62"><a href="#cite_ref-FOOTNOTEDaiWang2019171_62-0">^</a> <a href="#CITEREFDaiWang2019">Dai & Wang 2019</a>, p. 171. </li> <li id="cite_note-FOOTNOTEPanXu2011115-65"><a href="#cite_ref-FOOTNOTEPanXu2011115_65-0">^</a> <a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 115. </li> <li id="cite_note-FOOTNOTECai2023-66">^ <a href="#cite_ref-FOOTNOTECai2023_66-0">a</a> <a href="#cite_ref-FOOTNOTECai2023_66-1">b</a> <a href="#CITEREFCai2023">Cai 2023</a>. </li> <li id="cite_note-67"><a href="#cite_ref-67">^</a> quoted in <a href="#CITEREFLiu2019">Liu (2019)</a> </li> <li id="cite_note-FOOTNOTEPanXu2011138-69"><a href="#cite_ref-FOOTNOTEPanXu2011138_69-0">^</a> <a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 138. </li> <li id="cite_note-70"><a href="#cite_ref-70">^</a> <a href="#CITEREFHongLi2022">Hong & Li 2022</a>; <a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 132 </li> <li id="cite_note-FOOTNOTEGu2013133–134-72"><a href="#cite_ref-FOOTNOTEGu2013133%E2%80%93134_72-0">^</a> <a href="#CITEREFGu2013">Gu 2013</a>, pp. 133–134. </li> </ol></div></div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(6)"><h2 id="Works_cited">Works cited</h2> <a role="button" href="/w/index.php?title=The_True_Record&action=edit&section=12" title="Edit section: Works cited" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-6 collapsible-block" id="mf-section-6"> <style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin refbegin-columns references-column-width" style="column-width: 40em"> <ul><li><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFGuangdong_Museum,_Gao_Qifeng" class="citation web cs1 cs1-prop-script cs1-prop-foreign-lang-source"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20231203001455/https://www.gdmoa.org/Public_Education/Collection_Learning/artist_story/201709/t20170924_14459.shtml"><bdi lang="zh">【广东美术百年21大家】高奇峰</bdi></a> [21 Fine Arts Masters from Guangdong in the Past 100 Years: Gao Qifeng] (in Chinese). Guangdong Museum. 24 September 2017. Archived from <a rel="nofollow" class="external text" href="https://www.gdmoa.org/Public_Education/Collection_Learning/artist_story/201709/t20170924_14459.shtml">the original</a> on 3 December 2023. Retrieved 17 September 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=%E3%80%90%E5%B9%BF%E4%B8%9C%E7%BE%8E%E6%9C%AF%E7%99%BE%E5%B9%B421%E5%A4%A7%E5%AE%B6%E3%80%91%E9%AB%98%E5%A5%87%E5%B3%B0&rft.pub=Guangdong+Museum&rft.date=2017-09-24&rft_id=https%3A%2F%2Fwww.gdmoa.org%2FPublic_Education%2FCollection_Learning%2Fartist_story%2F201709%2Ft20170924_14459.shtml&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAndrews2018" class="citation book cs1">Andrews, Julia F. (2018). "Persuading with Pictures: Cover Art and The Ladies' Journal (1915–1931)". In Hockx, Michel; Judge, Joan; Mittler, Barbara (eds.). Women and the Periodical Press in China's Long Twentieth Century. Cambridge: Cambridge University Press. pp. 21–56. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1017%2F9781108304085.004">10.1017/9781108304085.004</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-108-30408-5" title="Special:BookSources/978-1-108-30408-5"><bdi>978-1-108-30408-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Persuading+with+Pictures%3A+Cover+Art+and+The+Ladies%27+Journal+%281915%E2%80%931931%29&rft.btitle=Women+and+the+Periodical+Press+in+China%27s+Long+Twentieth+Century&rft.place=Cambridge&rft.pages=%3Cspan+class%3D%22nowrap%22%3E21-%3C%2Fspan%3E56&rft.pub=Cambridge+University+Press&rft.date=2018&rft_id=info%3Adoi%2F10.1017%2F9781108304085.004&rft.isbn=978-1-108-30408-5&rft.aulast=Andrews&rft.aufirst=Julia+F.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAndrewsShen2012" class="citation book cs1">Andrews, Julia F.; Shen, Kuiyi (2012). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Ks0lDQAAQBAJ">The Art of Modern China</a>. Berkeley, California: University of California Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-520-23814-5" title="Special:BookSources/978-0-520-23814-5"><bdi>978-0-520-23814-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Art+of+Modern+China&rft.place=Berkeley%2C+California&rft.pub=University+of+California+Press&rft.date=2012&rft.isbn=978-0-520-23814-5&rft.aulast=Andrews&rft.aufirst=Julia+F.&rft.au=Shen%2C+Kuiyi&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DKs0lDQAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCai2023" class="citation news cs1 cs1-prop-script cs1-prop-foreign-lang-source">Cai Dengshan (蔡登山) (25 August 2023). <a rel="nofollow" class="external text" href="https://archive.today/20240917214212/https://www.dutenews.com/n/article/7705087"><bdi lang="zh">番禺高奇峰：未尽其才的"岭南三杰</bdi></a> [Panyu Gao Qifeng: The "Three Heroes of Lingnan" Who Did Not Use His Talents to Their Fullest]. Dute News (in Chinese). Shenzhen Media Group. Archived from <a rel="nofollow" class="external text" href="https://www.dutenews.com/n/article/7705087">the original</a> on 17 September 2024. Retrieved 17 September 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Dute+News&rft.atitle=%E7%95%AA%E7%A6%BA%E9%AB%98%E5%A5%87%E5%B3%B0%EF%BC%9A%E6%9C%AA%E5%B0%BD%E5%85%B6%E6%89%8D%E7%9A%84%22%E5%B2%AD%E5%8D%97%E4%B8%89%E6%9D%B0&rft.date=2023-08-25&rft.aulast=Cai&rft.aufirst=Dengshan&rft_id=https%3A%2F%2Fwww.dutenews.com%2Fn%2Farticle%2F7705087&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFChu1998" class="citation book cs1">Chu, Christina (1998). "The Lingnan School and Its Followers: Radical Innovation in Southern China". In Andrews, Julia Frances; Shen, Kuiyi (eds.). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Yr1PAAAAMAAJ">A Century in Crisis: Modernity and Tradition in the Art of Twentieth-century China</a>. New York: Guggenheim Museum. pp. 40–79. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8109-6909-4" title="Special:BookSources/978-0-8109-6909-4"><bdi>978-0-8109-6909-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=The+Lingnan+School+and+Its+Followers%3A+Radical+Innovation+in+Southern+China&rft.btitle=A+Century+in+Crisis%3A+Modernity+and+Tradition+in+the+Art+of+Twentieth-century+China&rft.place=New+York&rft.pages=%3Cspan+class%3D%22nowrap%22%3E40-%3C%2Fspan%3E79&rft.pub=Guggenheim+Museum&rft.date=1998&rft.isbn=978-0-8109-6909-4&rft.aulast=Chu&rft.aufirst=Christina&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DYr1PAAAAMAAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCochran2006" class="citation book cs1">Cochran, Sherman (2006). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=EElSqepJDEEC">Chinese Medicine Men: Consumer Culture in China and Southeast Asia</a>. Cambridge, Massachusetts: Harvard University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-674-02161-7" title="Special:BookSources/978-0-674-02161-7"><bdi>978-0-674-02161-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Chinese+Medicine+Men%3A+Consumer+Culture+in+China+and+Southeast+Asia&rft.place=Cambridge%2C+Massachusetts&rft.pub=Harvard+University+Press&rft.date=2006&rft.isbn=978-0-674-02161-7&rft.aulast=Cochran&rft.aufirst=Sherman&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DEElSqepJDEEC&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCroizier2023" class="citation book cs1">Croizier, Ralph (2023). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=-GvfEAAAQBAJ">Art and Revolution in Modern China: The Lingnan (Cantonese) School of Painting, 1906–1951</a>. Berkeley, California: University of California Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-520-33696-4" title="Special:BookSources/978-0-520-33696-4"><bdi>978-0-520-33696-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Art+and+Revolution+in+Modern+China%3A+The+Lingnan+%28Cantonese%29+School+of+Painting%2C+1906%26ndash%3B1951&rft.place=Berkeley%2C+California&rft.pub=University+of+California+Press&rft.date=2023&rft.isbn=978-0-520-33696-4&rft.aulast=Croizier&rft.aufirst=Ralph&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D-GvfEAAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDaiWang2019" class="citation book cs1">Dai, Jianbing; Wang, Yongyan (2019). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=glyJDwAAQBAJ">Hebei Women's Normal Education Pioneers: One Century's Fragrant Trace of Wisdom</a>. Translated by Sumin Zhang. Newcastle upon Tyne: Cambridge Scholars. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-5275-2209-1" title="Special:BookSources/978-1-5275-2209-1"><bdi>978-1-5275-2209-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hebei+Women%27s+Normal+Education+Pioneers%3A+One+Century%27s+Fragrant+Trace+of+Wisdom&rft.place=Newcastle+upon+Tyne&rft.pub=Cambridge+Scholars&rft.date=2019&rft.isbn=978-1-5275-2209-1&rft.aulast=Dai&rft.aufirst=Jianbing&rft.au=Wang%2C+Yongyan&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DglyJDwAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDillon2021" class="citation book cs1">Dillon, Michael (2021). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=9zYpEAAAQBAJ">China: A Modern History</a>. London: I. B. Tauris. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7556-0188-2" title="Special:BookSources/978-0-7556-0188-2"><bdi>978-0-7556-0188-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=China%3A+A+Modern+History&rft.place=London&rft.pub=I.+B.+Tauris&rft.date=2021&rft.isbn=978-0-7556-0188-2&rft.aulast=Dillon&rft.aufirst=Michael&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D9zYpEAAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFloriani2023" class="citation book cs1">Floriani, Giulia Pra (2023). "Photographic Portraits of Leaders of the 1911 Revolution: The Promise of Historical Rupture in the Chinese Republican Press". In Satterthwaite, Tim; Thacker, Andrew (eds.). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=dnLYEAAAQBAJ">Magazines and Modern Identities: Global Cultures of the Illustrated Press, 1880–1945</a>. London: Bloomsbury. pp. 223–237. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-350-27865-3" title="Special:BookSources/978-1-350-27865-3"><bdi>978-1-350-27865-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Photographic+Portraits+of+Leaders+of+the+1911+Revolution%3A+The+Promise+of+Historical+Rupture+in+the+Chinese+Republican+Press&rft.btitle=Magazines+and+Modern+Identities%3A+Global+Cultures+of+the+Illustrated+Press%2C+1880%26ndash%3B1945&rft.place=London&rft.pages=%3Cspan+class%3D%22nowrap%22%3E223-%3C%2Fspan%3E237&rft.pub=Bloomsbury&rft.date=2023&rft.isbn=978-1-350-27865-3&rft.aulast=Floriani&rft.aufirst=Giulia+Pra&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DdnLYEAAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGu2013" class="citation journal cs1">Gu, Yi (2013). "What's in a Name? Photography and the Reinvention of Visual Truth in China, 1840–1911". The Art Bulletin. 95: 120–138. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F00043079.2013.10786109">10.1080/00043079.2013.10786109</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Art+Bulletin&rft.atitle=What%27s+in+a+Name%3F+Photography+and+the+Reinvention+of+Visual+Truth+in+China%2C+1840%E2%80%931911&rft.volume=95&rft.pages=%3Cspan+class%3D%22nowrap%22%3E120-%3C%2Fspan%3E138&rft.date=2013&rft_id=info%3Adoi%2F10.1080%2F00043079.2013.10786109&rft.aulast=Gu&rft.aufirst=Yi&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHongLi2022" class="citation web cs1 cs1-prop-script cs1-prop-foreign-lang-source">Hong Lanxin (洪岚昕) and Li Zihua (黎子华) (8 August 2022). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240921003437/https://www.gdmoa.org/Research/Forum/202208/t20220808_17078_xl.shtml"><bdi lang="zh">广东美术馆藏岭南画派文献系列（一）：《真相画报》</bdi></a> [Documents of the Lingnan School of Painting at the Guangdong Museum of Art, Series (I): The True Record] (in Chinese). Guangdong Museum. Archived from <a rel="nofollow" class="external text" href="https://www.gdmoa.org/Research/Forum/202208/t20220808_17078_xl.shtml">the original</a> on 21 September 2024. Retrieved 20 September 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=%E5%B9%BF%E4%B8%9C%E7%BE%8E%E6%9C%AF%E9%A6%86%E8%97%8F%E5%B2%AD%E5%8D%97%E7%94%BB%E6%B4%BE%E6%96%87%E7%8C%AE%E7%B3%BB%E5%88%97%EF%BC%88%E4%B8%80%EF%BC%89%EF%BC%9A%E3%80%8A%E7%9C%9F%E7%9B%B8%E7%94%BB%E6%8A%A5%E3%80%8B&rft.pub=Guangdong+Museum&rft.date=2022-08-08&rft.aulast=Hong&rft.aufirst=Lanxin&rft.au=Li%2C+Zihua&rft_id=https%3A%2F%2Fwww.gdmoa.org%2FResearch%2FForum%2F202208%2Ft20220808_17078_xl.shtml&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLiang2022" class="citation journal cs1">Liang, Tiang S. (9 June 2022). <a rel="nofollow" class="external text" href="https://www.oxfordartonline.com/groveart/display/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-90000138520">"Zhenxiang huabao [The True Record]"</a>. Grove Art Online. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1093%2Foao%2F9781884446054.013.90000138520">10.1093/oao/9781884446054.013.90000138520</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Grove+Art+Online&rft.atitle=Zhenxiang+huabao+%5BThe+True+Record%5D&rft.date=2022-06-09&rft_id=info%3Adoi%2F10.1093%2Foao%2F9781884446054.013.90000138520&rft.aulast=Liang&rft.aufirst=Tiang+S.&rft_id=https%3A%2F%2Fwww.oxfordartonline.com%2Fgroveart%2Fdisplay%2F10.1093%2Fgao%2F9781884446054.001.0001%2Foao-9781884446054-e-90000138520&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLiu2019" class="citation journal cs1">Liu, Yiwen (2019). <a rel="nofollow" class="external text" href="https://read.dukeupress.edu/trans-asia-photography/article/doi/10.1215/215820251_9-2-204/312807/Witnessing-Death-The-Circulation-of-Lu-Xun-s">"Witnessing Death: The Circulation of Lu Xun's Postmortem Image"</a>. Trans-Asia Photography. 9 (2). <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1215%2F215820251_9-2-204">10.1215/215820251_9-2-204</a>. <a href="/wiki/Hdl_(identifier)" class="mw-redirect" title="Hdl (identifier)">hdl</a>:<a rel="nofollow" class="external text" href="https://hdl.handle.net/2027%2Fspo.7977573.0009.204">2027/spo.7977573.0009.204</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Trans-Asia+Photography&rft.atitle=Witnessing+Death%3A+The+Circulation+of+Lu+Xun%27s+Postmortem+Image&rft.volume=9&rft.issue=2&rft.date=2019&rft_id=info%3Ahdl%2F2027%2Fspo.7977573.0009.204&rft_id=info%3Adoi%2F10.1215%2F215820251_9-2-204&rft.aulast=Liu&rft.aufirst=Yiwen&rft_id=https%3A%2F%2Fread.dukeupress.edu%2Ftrans-asia-photography%2Farticle%2Fdoi%2F10.1215%2F215820251_9-2-204%2F312807%2FWitnessing-Death-The-Circulation-of-Lu-Xun-s&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLumLum1999" class="citation book cs1">Lum, Yansheng Ma; Lum, Raymond Mun Kong (1999). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=pRRuX1RAEAsC">Sun Yat-sen in Hawaii: Activities and Supporters</a>. Honolulu: University of Hawaii Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8248-2179-1" title="Special:BookSources/978-0-8248-2179-1"><bdi>978-0-8248-2179-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Sun+Yat-sen+in+Hawaii%3A+Activities+and+Supporters.&rft.place=Honolulu&rft.pub=University+of+Hawaii+Press&rft.date=1999&rft.isbn=978-0-8248-2179-1&rft.aulast=Lum&rft.aufirst=Yansheng+Ma&rft.au=Lum%2C+Raymond+Mun+Kong&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DpRRuX1RAEAsC&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMcKenna2023" class="citation encyclopaedia cs1">McKenna, Amy (3 October 2023). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240214093254/https://www.britannica.com/event/Chinese-Revolution-1911-1912">"Chinese Revolution 1911–1912"</a>. Encyclopaedia Britannica. Archived from <a rel="nofollow" class="external text" href="https://www.britannica.com/event/Chinese-Revolution-1911-1912">the original</a> on 14 February 2024. Retrieved 21 September 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Chinese+Revolution+1911%26ndash%3B1912&rft.btitle=Encyclopaedia+Britannica&rft.date=2023-10-03&rft.aulast=McKenna&rft.aufirst=Amy&rft_id=https%3A%2F%2Fwww.britannica.com%2Fevent%2FChinese-Revolution-1911-1912&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFNishigami2018" class="citation journal cs1 cs1-prop-script cs1-prop-foreign-lang-source">Nishigami, Masaru (2018). <a rel="nofollow" class="external text" href="https://www-hs.yamagata-u.ac.jp/wp-content/uploads/2019/11/295e057ec2a2a34380c6e56d4193c047.pdf"><bdi lang="ja">中国絵画通史の構築と「変」の概念――黄賓虹（1865－1955）著『古画微』をめぐって</bdi></a> [Providing a General History of Chinese Painting and the Concept of "Change": On "Guhuawei" by Huang Binhong (1865–1955)] (PDF). Bulletin of the Graduate School of Social and Cultural Systems (in Japanese) (15): 1–18.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Bulletin+of+the+Graduate+School+of+Social+and+Cultural+Systems&rft.atitle=%E4%B8%AD%E5%9B%BD%E7%B5%B5%E7%94%BB%E9%80%9A%E5%8F%B2%E3%81%AE%E6%A7%8B%E7%AF%89%E3%81%A8%E3%80%8C%E5%A4%89%E3%80%8D%E3%81%AE%E6%A6%82%E5%BF%B5%E2%80%95%E2%80%95%E9%BB%84%E8%B3%93%E8%99%B9%EF%BC%881865%EF%BC%8D1955%EF%BC%89%E8%91%97%E3%80%8E%E5%8F%A4%E7%94%BB%E5%BE%AE%E3%80%8F%E3%82%92%E3%82%81%E3%81%90%E3%81%A3%E3%81%A6&rft.issue=15&rft.pages=%3Cspan+class%3D%22nowrap%22%3E1-%3C%2Fspan%3E18&rft.date=2018&rft.aulast=Nishigami&rft.aufirst=Masaru&rft_id=https%3A%2F%2Fwww-hs.yamagata-u.ac.jp%2Fwp-content%2Fuploads%2F2019%2F11%2F295e057ec2a2a34380c6e56d4193c047.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPanXu2011" class="citation journal cs1 cs1-prop-script cs1-prop-foreign-lang-source">Pan Yaochang (潘耀昌) and Xu Li (徐立) (2011). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240919150848/http://www.yrdcpcn.com/upload/2023/0707/7a664ac6-65eb-4407-9c25-45feeadcb39b.pdf"><bdi lang="zh">上海早期都市文艺先锋 —《真相画报》</bdi></a> [Shanghai's Early Urban Art Pioneer – "The True Record"] (PDF). Journal of Shanghai University (in Chinese): 131–140. Archived from <a rel="nofollow" class="external text" href="http://www.yrdcpcn.com/upload/2023/0707/7a664ac6-65eb-4407-9c25-45feeadcb39b.pdf">the original</a> (PDF) on 19 September 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+Shanghai+University&rft.atitle=%E4%B8%8A%E6%B5%B7%E6%97%A9%E6%9C%9F%E9%83%BD%E5%B8%82%E6%96%87%E8%89%BA%E5%85%88%E9%94%8B+%E2%80%94%E3%80%8A%E7%9C%9F%E7%9B%B8%E7%94%BB%E6%8A%A5%E3%80%8B&rft.pages=%3Cspan+class%3D%22nowrap%22%3E131-%3C%2Fspan%3E140&rft.date=2011&rft.aulast=Pan&rft.aufirst=Yaochang&rft.au=Xu%2C+Li&rft_id=http%3A%2F%2Fwww.yrdcpcn.com%2Fupload%2F2023%2F0707%2F7a664ac6-65eb-4407-9c25-45feeadcb39b.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRoberts2013" class="citation book cs1">Roberts, Claire (2013). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=YV7qAQAAQBAJ">Photography and China</a>. London: Reaktion Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-78023-247-8" title="Special:BookSources/978-1-78023-247-8"><bdi>978-1-78023-247-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Photography+and+China&rft.place=London&rft.pub=Reaktion+Books&rft.date=2013&rft.isbn=978-1-78023-247-8&rft.aulast=Roberts&rft.aufirst=Claire&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DYV7qAQAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSpence2013" class="citation book cs1">Spence, Johnathan D. (2013). The Search for Modern China (3rd ed.). New York: W.W. Norton & Company. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-393-93451-9" title="Special:BookSources/978-0-393-93451-9"><bdi>978-0-393-93451-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Search+for+Modern+China&rft.place=New+York&rft.edition=3rd&rft.pub=W.W.+Norton+%26+Company&rft.date=2013&rft.isbn=978-0-393-93451-9&rft.aulast=Spence&rft.aufirst=Johnathan+D.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTang2018" class="citation journal cs1 cs1-prop-script cs1-prop-foreign-lang-source">Tang Honfeng (唐宏峰) (2018). <a rel="nofollow" class="external text" href="https://www.modernchinastudies.org/us/issues/past-issues/127-mcs-2018-issue-2/1448-uncanny-or-old-ghosts-coming-again-mirror-images-and-visual-illusions-in-modern-china.html"><bdi lang="zh">Uncanny，或者'故鬼重来'——近代中国的镜像图像与视错觉</bdi></a> [Uncanny, or 'Old Ghosts Coming Again": Mirror Images and Visual Illusions in Modern China]. Modern China Studies (in Chinese). 25 (2): 113–140.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Modern+China+Studies&rft.atitle=Uncanny%EF%BC%8C%E6%88%96%E8%80%85%27%E6%95%85%E9%AC%BC%E9%87%8D%E6%9D%A5%27%E2%80%94%E2%80%94%E8%BF%91%E4%BB%A3%E4%B8%AD%E5%9B%BD%E7%9A%84%E9%95%9C%E5%83%8F%E5%9B%BE%E5%83%8F%E4%B8%8E%E8%A7%86%E9%94%99%E8%A7%89&rft.volume=25&rft.issue=2&rft.pages=%3Cspan+class%3D%22nowrap%22%3E113-%3C%2Fspan%3E140&rft.date=2018&rft.aulast=Tang&rft.aufirst=Hongfeng&rft_id=https%3A%2F%2Fwww.modernchinastudies.org%2Fus%2Fissues%2Fpast-issues%2F127-mcs-2018-issue-2%2F1448-uncanny-or-old-ghosts-coming-again-mirror-images-and-visual-illusions-in-modern-china.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTaoYang2017" class="citation journal cs1 cs1-prop-script cs1-prop-foreign-lang-source">Tao Xiaojun (陶小军) and Yang Xinmin (杨心珉) (2017). <a rel="nofollow" class="external text" href="https://www.js-skl.org.cn/uploads/Files/2017-09/14/1-1505357345-392.pdf"><bdi lang="zh">从"折衷"到"现代"：抗战寓澳时期高剑父绘画思想的嬗变</bdi></a> [From 'Compromise' to 'Modernity': The Evolution of Gao Jianfu's Painting during the Anti-Japanese War in Macao] (PDF). Jiangsu Social Sciences (in Chinese) (5): 208–215.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Jiangsu+Social+Sciences&rft.atitle=%E4%BB%8E%22%E6%8A%98%E8%A1%B7%22%E5%88%B0%22%E7%8E%B0%E4%BB%A3%22%EF%BC%9A%E6%8A%97%E6%88%98%E5%AF%93%E6%BE%B3%E6%97%B6%E6%9C%9F%E9%AB%98%E5%89%91%E7%88%B6%E7%BB%98%E7%94%BB%E6%80%9D%E6%83%B3%E7%9A%84%E5%AC%97%E5%8F%98&rft.issue=5&rft.pages=%3Cspan+class%3D%22nowrap%22%3E208-%3C%2Fspan%3E215&rft.date=2017&rft.aulast=Tao&rft.aufirst=Xiaojun&rft.au=Yang%2C+Xinmin&rft_id=https%3A%2F%2Fwww.js-skl.org.cn%2Fuploads%2FFiles%2F2017-09%2F14%2F1-1505357345-392.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWakeman2003" class="citation book cs1">Wakeman, Frederic (2003). <a rel="nofollow" class="external text" href="https://academic.oup.com/california-scholarship-online/book/14341">Spymaster: Dai Li and the Chinese Secret Service</a>. Berkeley, California: University of California Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-520-23407-9" title="Special:BookSources/978-0-520-23407-9"><bdi>978-0-520-23407-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Spymaster%3A+Dai+Li+and+the+Chinese+Secret+Service&rft.place=Berkeley%2C+California&rft.pub=University+of+California+Press&rft.date=2003&rft.isbn=978-0-520-23407-9&rft.aulast=Wakeman&rft.aufirst=Frederic&rft_id=https%3A%2F%2Facademic.oup.com%2Fcalifornia-scholarship-online%2Fbook%2F14341&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWang2008" class="citation news cs1 cs1-prop-script cs1-prop-foreign-lang-source">Wang Jingjing (汪晶晶) (6 November 2008). <a rel="nofollow" class="external text" href="http://web.archive.org/web/20240105062925/https://www.gzlib.org.cn/gzlp/151917.jhtml"><bdi lang="zh">高奇峰谁堪画圣之名谁享最风光葬礼</bdi></a> [Gao Qifeng: Who Deserves the Title of the 'Painting Saint', Who has the Most Splendid Funeral]. Southern Metropolis Daily (in Chinese). Archived from <a rel="nofollow" class="external text" href="https://www.gzlib.org.cn/gzlp/151917.jhtml">the original</a> on 5 January 2024. Retrieved 17 September 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Southern+Metropolis+Daily&rft.atitle=%E9%AB%98%E5%A5%87%E5%B3%B0+%E8%B0%81%E5%A0%AA%E7%94%BB%E5%9C%A3%E4%B9%8B%E5%90%8D+%E8%B0%81%E4%BA%AB%E6%9C%80%E9%A3%8E%E5%85%89%E8%91%AC%E7%A4%BC&rft.date=2008-11-06&rft.aulast=Wang&rft.aufirst=Jingjing&rft_id=https%3A%2F%2Fwww.gzlib.org.cn%2Fgzlp%2F151917.jhtml&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"> (via Guangzhou Digital Library)</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWarra1999" class="citation book cs1">Warra, Carrie (1999). "Invention, Industry, Art: The Commercialization of Culture in Republican Art Magazines". In Cochran, Sherman (ed.). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=9Z4oAQAAMAAJ">Inventing Nanjing Road: Commercial Culture in Shanghai, 1900–1945</a>. Ithaca, New York: Cornell East Asia Program. pp. 61–90. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-885445-63-6" title="Special:BookSources/978-1-885445-63-6"><bdi>978-1-885445-63-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Invention%2C+Industry%2C+Art%3A+The+Commercialization+of+Culture+in+Republican+Art+Magazines&rft.btitle=Inventing+Nanjing+Road%3A+Commercial+Culture+in+Shanghai%2C+1900%26ndash%3B1945&rft.place=Ithaca%2C+New+York&rft.pages=%3Cspan+class%3D%22nowrap%22%3E61-%3C%2Fspan%3E90&rft.pub=Cornell+East+Asia+Program&rft.date=1999&rft.isbn=978-1-885445-63-6&rft.aulast=Warra&rft.aufirst=Carrie&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D9Z4oAQAAMAAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWong2002" class="citation book cs1">Wong, Wendy Siuyi (2002). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=sNaQQxhcD-oC">Hong Kong Comics</a>. New York: Princeton Architectural Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56898-269-4" title="Special:BookSources/978-1-56898-269-4"><bdi>978-1-56898-269-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hong+Kong+Comics&rft.place=New+York&rft.pub=Princeton+Architectural+Press&rft.date=2002&rft.isbn=978-1-56898-269-4&rft.aulast=Wong&rft.aufirst=Wendy+Siuyi&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DsNaQQxhcD-oC&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFXia2017" class="citation journal cs1 cs1-prop-script cs1-prop-foreign-lang-source">Xia Yi (夏羿) (2017). <a rel="nofollow" class="external text" href="https://www.js-skl.org.cn/uploads/Files/2017-01/18/1-1484706299-609.pdf"><bdi lang="zh">清末民初国人对摄影媒介的认知</bdi></a> [The Chinese People's Understanding of the Medium of Photography in the Late Qing Dynasty and Early Republic of China] (PDF). Jiangsu Social Sciences (in Chinese) (1): 200–204.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Jiangsu+Social+Sciences&rft.atitle=%E6%B8%85%E6%9C%AB%E6%B0%91%E5%88%9D%E5%9B%BD%E4%BA%BA%E5%AF%B9%E6%91%84%E5%BD%B1%E5%AA%92%E4%BB%8B%E7%9A%84%E8%AE%A4%E7%9F%A5&rft.issue=1&rft.pages=%3Cspan+class%3D%22nowrap%22%3E200-%3C%2Fspan%3E204&rft.date=2017&rft.aulast=Xia&rft.aufirst=Yi&rft_id=https%3A%2F%2Fwww.js-skl.org.cn%2Fuploads%2FFiles%2F2017-01%2F18%2F1-1484706299-609.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFZhu2017" class="citation news cs1 cs1-prop-script cs1-prop-foreign-lang-source">Zhu Wanzhang (朱万章) (31 July 2017). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210316190429/https://www.rmzxb.com.cn/c/2017-07-31/1690816.shtml"><bdi lang="zh">高奇峰《松猿图》：画海横舟劈波至勇</bdi></a> [Gao Qifeng's "Pine and Monkey": Painting a Boat Crossing the Sea and Bravely Cutting through the Waves]. rmzxb.com.cn (in Chinese). Chinese People's Political Consultative Conference. Archived from <a rel="nofollow" class="external text" href="https://www.rmzxb.com.cn/c/2017-07-31/1690816.shtml">the original</a> on 16 March 2021. Retrieved 17 September 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=rmzxb.com.cn&rft.atitle=%E9%AB%98%E5%A5%87%E5%B3%B0%E3%80%8A%E6%9D%BE%E7%8C%BF%E5%9B%BE%E3%80%8B%EF%BC%9A%E7%94%BB%E6%B5%B7%E6%A8%AA%E8%88%9F+%E5%8A%88%E6%B3%A2%E8%87%B3%E5%8B%87&rft.date=2017-07-31&rft.aulast=Zhu&rft.aufirst=Wanzhang&rft_id=https%3A%2F%2Fwww.rmzxb.com.cn%2Fc%2F2017-07-31%2F1690816.shtml&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+True+Record" class="Z3988"></li></ul> </div>    </section></div> <noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?useformat=mobile&type=1x1&usesul3=0" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" 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Inc.","logo":{"@type":"ImageObject","url":"https:\/\/www.wikimedia.org\/static\/images\/wmf-hor-googpub.png"}},"datePublished":"2024-09-19T10:28:33Z","dateModified":"2025-03-24T09:40:55Z","image":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/3\/35\/The_True_Record_vol_1%2C_issue_1_%28color%29_HQ.jpg","headline":"Chinese illustrated magazine (1912\u20131913)"}</script><script>(window.NORLQ=window.NORLQ||[]).push(function(){var ns,i,p,img;ns=document.getElementsByTagName('noscript');for(i=0;i<ns.length;i++){p=ns[i].nextSibling;if(p&&p.className&&p.className.indexOf('lazy-image-placeholder')>-1){img=document.createElement('img');img.setAttribute('src',p.getAttribute('data-mw-src'));img.setAttribute('width',p.getAttribute('data-width'));img.setAttribute('height',p.getAttribute('data-height'));img.setAttribute('alt',p.getAttribute('data-alt'));p.parentNode.replaceChild(img,p);}}});</script> </body> </html>