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class="vector-toc-numb">2.1</span> <span>Imagery</span> </div> </a> <ul id="toc-Imagery-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Text" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Text"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.2</span> <span>Text</span> </div> </a> <ul id="toc-Text-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Impact_and_analysis" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Impact_and_analysis"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Impact and analysis</span> </div> </a> <ul id="toc-Impact_and_analysis-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Explanatory_notes" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Explanatory_notes"> <div class="vector-toc-text"> <span 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Click here for more information."><img alt="Featured article" src="//upload.wikimedia.org/wikipedia/en/thumb/e/e7/Cscr-featured.svg/20px-Cscr-featured.svg.png" decoding="async" width="20" height="19" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/e/e7/Cscr-featured.svg/30px-Cscr-featured.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/e/e7/Cscr-featured.svg/40px-Cscr-featured.svg.png 2x" data-file-width="466" data-file-height="443" /></a></span></div></div> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Chinese illustrated magazine (1912–1913)</div> <p class="mw-empty-elt"> </p> <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><table class="infobox hproduct"><caption class="infobox-title fn"><i>The True Record</i></caption><tbody><tr><td colspan="2" class="infobox-image"><span class="mw-default-size" typeof="mw:File/Frameless"><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></span><div class="infobox-caption">The first issue of <i>The True Record</i></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"><span style="font-size: 1rem"><span title="Chinese-language text"><span lang="zh-Hant"><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></span></span></span></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"><span style="font-size: 1rem"><span title="Chinese-language text"><span lang="zh-Hans"><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></span></span></span></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"><span>Chen<sup>1</sup>hsiang<sup>1</sup> Hua<sup>4</sup>pao<sup>4</sup></span></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<span class="noprint">; 112 years ago</span><span style="display:none"> (<span class="bday dtstart published updated">1912-06-05</span>)</span></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<sup id="cite_ref-FOOTNOTELiang2022_1-0" class="reference"><a href="#cite_note-FOOTNOTELiang2022-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup></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> <p><i><b>The True Record</b></i> (<a href="/wiki/Simplified_Chinese_characters" title="Simplified Chinese characters">simplified Chinese</a>: <span lang="zh-Hans">真相画报</span>; <a href="/wiki/Traditional_Chinese_characters" title="Traditional Chinese characters">traditional Chinese</a>: <span lang="zh-Hant">真相畫報</span>; <a href="/wiki/Pinyin" title="Pinyin">pinyin</a>: <i><span lang="zh-Latn">Zhēnxiāng Huàbào</span></i>) 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. </p><p>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>, <i>The True Record</i> 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 <i><a href="/wiki/Manhua" title="Manhua">manhua</a></i>. 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, <i>The True Record</i> has been described as one of the most important illustrated magazines of the first years of the Republic of China. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="History">History</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_True_Record&action=edit&section=1" title="Edit section: History"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Background">Background</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_True_Record&action=edit&section=2" title="Edit section: Background"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>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.<sup id="cite_ref-FOOTNOTEMcKenna2023_2-0" class="reference"><a href="#cite_note-FOOTNOTEMcKenna2023-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Ultimately, he allied with the rebels, and negotiated the abdication of <a href="/wiki/Puyi" title="Puyi">Emperor Puyi</a>.<sup id="cite_ref-FOOTNOTEFloriani2023231_3-0" class="reference"><a href="#cite_note-FOOTNOTEFloriani2023231-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>a<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEMcKenna2023_2-1" class="reference"><a href="#cite_note-FOOTNOTEMcKenna2023-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>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.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Nineteen magazines began publication in this era, collectively serving to capitalize on demand for new, modern materials.<sup id="cite_ref-FOOTNOTEAndrews201822_6-0" class="reference"><a href="#cite_note-FOOTNOTEAndrews201822-6"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTEAndrews201823_7-0" class="reference"><a href="#cite_note-FOOTNOTEAndrews201823-7"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> <i>The True Record</i> 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.<sup id="cite_ref-FOOTNOTEAndrews201826_8-0" class="reference"><a href="#cite_note-FOOTNOTEAndrews201826-8"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Establishment">Establishment</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_True_Record&action=edit&section=3" title="Edit section: Establishment"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></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"><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" 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-file-width="838" data-file-height="1130" /></a><figcaption><a href="/wiki/Gao_Qifeng" title="Gao Qifeng">Gao Qifeng</a>, editor-in-chief of <i>The True Record</i></figcaption></figure> <p><i>The True Record</i> 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>,<sup id="cite_ref-FOOTNOTEPanXu2011132_9-0" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011132-9"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTEAndrewsShen201235_10-0" class="reference"><a href="#cite_note-FOOTNOTEAndrewsShen201235-10"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Gao Qifeng became the editor-in-chief of the new magazine<sup id="cite_ref-FOOTNOTEFloriani2023224_11-0" class="reference"><a href="#cite_note-FOOTNOTEFloriani2023224-11"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> and Gao Jianfu and <a href="/wiki/Huang_Binhong" title="Huang Binhong">Huang Binhong</a> became supporting editors.<sup id="cite_ref-FOOTNOTEGu2013131_12-0" class="reference"><a href="#cite_note-FOOTNOTEGu2013131-12"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> Also involved were several alumni of the <i><a href="/wiki/Journal_of_Current_Pictorial" title="Journal of Current Pictorial">Journal of Current Pictorial</a></i> including <a href="/wiki/He_Jianshi" title="He Jianshi">He Jianshi</a> and Zheng Leiquan (<span lang="zh">鄭磊泉</span>), who had used their <i><a href="/wiki/Manhua" title="Manhua">manhua</a></i> (comics) to criticize the Qing dynasty.<sup id="cite_ref-FOOTNOTEWong200214_13-0" class="reference"><a href="#cite_note-FOOTNOTEWong200214-13"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTECochran2006121_14-0" class="reference"><a href="#cite_note-FOOTNOTECochran2006121-14"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> Further contributions came from <a href="/wiki/Chen_Shuren" title="Chen Shuren">Chen Shuren</a>, a colleague of the Gaos in Japan,<sup id="cite_ref-FOOTNOTECroizier202368_15-0" class="reference"><a href="#cite_note-FOOTNOTECroizier202368-15"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> and <a href="/wiki/Xu_Beihong" title="Xu Beihong">Xu Beihong</a>, an employee of their bookstore.<sup id="cite_ref-FOOTNOTEChu199869_16-0" class="reference"><a href="#cite_note-FOOTNOTEChu199869-16"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p><p>Headquartered at No. 4 Road, Huifu Lane, <a href="/wiki/Shanghai" title="Shanghai">Shanghai</a>,<sup id="cite_ref-FOOTNOTELiang2022_1-1" class="reference"><a href="#cite_note-FOOTNOTELiang2022-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> <i>The True Record</i> provided the mailing address of 45 Wei Foo Lee (<a href="/wiki/Foochow_Road" class="mw-redirect" title="Foochow Road">Foochow Road</a>)<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>b<span class="cite-bracket">]</span></a></sup> on its cover.<sup id="cite_ref-FOOTNOTEWong200232_18-0" class="reference"><a href="#cite_note-FOOTNOTEWong200232-18"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> In February 1913, operations moved to Middle Section No. 84, Chessboard Street, also in Shanghai.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>c<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTELiang2022_1-2" class="reference"><a href="#cite_note-FOOTNOTELiang2022-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Publication was handled by the Aesthetic Institute,<sup id="cite_ref-FOOTNOTEAndrewsShen201235_10-1" class="reference"><a href="#cite_note-FOOTNOTEAndrewsShen201235-10"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> a combined gallery, exhibition hall, and publishing house that also sold reproductions of Chinese and western paintings.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> The Commerce Culture Print Shop did the printing,<sup id="cite_ref-FOOTNOTELiang2022_1-3" class="reference"><a href="#cite_note-FOOTNOTELiang2022-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> using a combination of <a href="/wiki/Intaglio_(printmaking)" title="Intaglio (printmaking)">copperplate printing</a> and <a href="/wiki/Collotype" title="Collotype">collotype</a>.<sup id="cite_ref-FOOTNOTEHongLi2022_21-0" class="reference"><a href="#cite_note-FOOTNOTEHongLi2022-21"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p><p>Some photography for <i>The True Record</i> was provided by the Guangdong-based China Photo Team (<span lang="zh">中华写真队</span>),<sup id="cite_ref-FOOTNOTEPanXu2011132_9-1" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011132-9"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> which had been established by Sun with the support of the provincial government to cover republican war efforts;<sup id="cite_ref-FOOTNOTEPanXu2011134_22-0" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011134-22"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> funding for the magazine's publication has also been alleged to have come from the government.<sup id="cite_ref-FOOTNOTEWarra199962_23-0" class="reference"><a href="#cite_note-FOOTNOTEWarra199962-23"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> After <i>The True Record</i> 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.<sup id="cite_ref-FOOTNOTELiang2022_1-4" class="reference"><a href="#cite_note-FOOTNOTELiang2022-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Distribution of the magazine was handled by both the Shanghai and Guangdong offices.<sup id="cite_ref-FOOTNOTEPanXu2011132_9-2" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011132-9"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Publication">Publication</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_True_Record&action=edit&section=4" title="Edit section: Publication"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The first edition of <i>The True Record</i> was published on 5 June 1912. It was prefaced by introductions from Li Huaishuang (<span lang="zh">李怀霜</span>), Xie Yingbo (<span lang="zh">谢英伯</span>), and <a href="/wiki/Hu_Hanmin" title="Hu Hanmin">Hu Hanmin</a>, all of whom were Tongmenghui members.<sup id="cite_ref-FOOTNOTEPanXu2011132_9-3" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011132-9"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>d<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEPanXu2011132_9-4" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011132-9"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Initially, <i>The True Record</i> was scheduled to publish a new issue every ten days, with a target of ten-thousand words per issue.<sup id="cite_ref-FOOTNOTEPanXu2011133_25-0" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011133-25"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> 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<sup id="cite_ref-FOOTNOTEFloriani2023224_11-1" class="reference"><a href="#cite_note-FOOTNOTEFloriani2023224-11"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> –  expected to be 36 issues. This schedule was ultimately not realized and publication was irregular.<sup id="cite_ref-FOOTNOTEFloriani2023236_26-0" class="reference"><a href="#cite_note-FOOTNOTEFloriani2023236-26"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <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"><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" 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-file-width="482" data-file-height="734" /></a><figcaption>Beginning with the third issue, <i>The True Record</i> included its English-language title.</figcaption></figure> <p>Over time, <i>The True Record</i> 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.<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>e<span class="cite-bracket">]</span></a></sup> As the magazine expanded its distribution networks, it sought to internationalize. With the third issue, the English-language title <i>The True Record</i> was provided alongside a mailing address. The subtitle "Illustrated Magazine" was included beginning with the fourth issue. Captions were provided in English and Chinese.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>f<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEPanXu2011133_25-1" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011133-25"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Closure">Closure</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_True_Record&action=edit&section=5" title="Edit section: Closure"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In February 1912, President Sun had ceded leadership of the republic to Yuan, honouring an earlier agreement.<sup id="cite_ref-FOOTNOTEFloriani2023231_3-1" class="reference"><a href="#cite_note-FOOTNOTEFloriani2023231-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> 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,<sup id="cite_ref-FOOTNOTERoberts201360_29-0" class="reference"><a href="#cite_note-FOOTNOTERoberts201360-29"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> with publications deemed too critical of his government censored.<sup id="cite_ref-FOOTNOTEFloriani2023224_11-2" class="reference"><a href="#cite_note-FOOTNOTEFloriani2023224-11"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> 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;<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>g<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEFloriani2023233_31-0" class="reference"><a href="#cite_note-FOOTNOTEFloriani2023233-31"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> a nationalist leader, Song had broad popular support and had openly opposed Yuan.<sup id="cite_ref-FOOTNOTESpence2013265_32-0" class="reference"><a href="#cite_note-FOOTNOTESpence2013265-32"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> </p><p><i>The True Record</i> closed during this period, publishing its seventeenth and final issue in March<sup id="cite_ref-FOOTNOTELiang2022_1-5" class="reference"><a href="#cite_note-FOOTNOTELiang2022-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> or April 1913.<sup id="cite_ref-FOOTNOTEFloriani2023224_11-3" class="reference"><a href="#cite_note-FOOTNOTEFloriani2023224-11"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Sources differ as to the reason. The comics scholar Wendy Siuyi Wong writes that the magazine was banned;<sup id="cite_ref-FOOTNOTEWong200233_33-0" class="reference"><a href="#cite_note-FOOTNOTEWong200233-33"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTETang2018116_34-0" class="reference"><a href="#cite_note-FOOTNOTETang2018116-34"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> The art historian Christina Chu describes the magazine as closing after government funding was pulled;<sup id="cite_ref-FOOTNOTEChu199869_16-1" class="reference"><a href="#cite_note-FOOTNOTEChu199869-16"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> this is supported by Andrews, who notes that the magazine's lavish production values would have limited its commercial viability without subsidies,<sup id="cite_ref-FOOTNOTEAndrews201826_8-1" class="reference"><a href="#cite_note-FOOTNOTEAndrews201826-8"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> as well as the art historian Ralph Croizier, who writes that the magazine had difficulty attracting advertisers.<sup id="cite_ref-FOOTNOTECroizier2023171_35-0" class="reference"><a href="#cite_note-FOOTNOTECroizier2023171-35"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p><p>Many of the magazine's staff left Shanghai after its closure. Zheng fled to Hong Kong, dying there by the end of the decade.<sup id="cite_ref-FOOTNOTEWong200214_13-1" class="reference"><a href="#cite_note-FOOTNOTEWong200214-13"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> 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>.<sup id="cite_ref-FOOTNOTECochran2006122_36-0" class="reference"><a href="#cite_note-FOOTNOTECochran2006122-36"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> Gao Qifeng may have undergone a self-imposed exile in Japan, where he had studied the previous decade, returning some time later.<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>h<span class="cite-bracket">]</span></a></sup> Such flights were common among nationalists, with Sun escaping to Japan in August 1913.<sup id="cite_ref-FOOTNOTEFloriani2023233_31-1" class="reference"><a href="#cite_note-FOOTNOTEFloriani2023233-31"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Description_and_content">Description and content</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_True_Record&action=edit&section=6" title="Edit section: Description and content"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><i>The True Record</i> 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,<sup id="cite_ref-FOOTNOTEAndrews201826_8-2" class="reference"><a href="#cite_note-FOOTNOTEAndrews201826-8"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> 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<sup id="cite_ref-FOOTNOTEFloriani2023224_11-4" class="reference"><a href="#cite_note-FOOTNOTEFloriani2023224-11"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> and many contained <a href="/wiki/Centerfold" title="Centerfold">fold-outs</a> that could be removed for display.<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>i<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTERoberts201359_39-0" class="reference"><a href="#cite_note-FOOTNOTERoberts201359-39"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> Issues were 18 by 27 centimetres (7.1 in × 10.6 in) in size, and ranged in length from fifty to eighty pages.<sup id="cite_ref-FOOTNOTEFloriani2023224_11-5" class="reference"><a href="#cite_note-FOOTNOTEFloriani2023224-11"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Imagery">Imagery</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_True_Record&action=edit&section=7" title="Edit section: Imagery"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></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"><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" 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-file-width="756" data-file-height="1067" /></a><figcaption>Drawings by staff members, featured in Issue 11 of <i>The True Record</i></figcaption></figure> <p>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.<sup id="cite_ref-FOOTNOTEPanXu2011132_9-5" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011132-9"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Consequently, imagery was extensively used in <i>The True Record</i>. 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.<sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>j<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEPanXu2011133_25-2" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011133-25"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p><p>The use of thick paper allowed <i>The True Record</i> to feature extensive colour on its covers.<sup id="cite_ref-FOOTNOTEAndrews201826_8-3" class="reference"><a href="#cite_note-FOOTNOTEAndrews201826-8"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> Subjects were diverse, but often involved individuals uncovering a truth.<sup id="cite_ref-FOOTNOTETang2018116_34-1" class="reference"><a href="#cite_note-FOOTNOTETang2018116-34"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTEGu2013134_41-0" class="reference"><a href="#cite_note-FOOTNOTEGu2013134-41"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> 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 <span lang="zh">真相</span> ("truth").<sup id="cite_ref-FOOTNOTERoberts201358_42-0" class="reference"><a href="#cite_note-FOOTNOTERoberts201358-42"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> The final issue of <i>The True Record</i> 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.<sup id="cite_ref-FOOTNOTETang2018116_34-2" class="reference"><a href="#cite_note-FOOTNOTETang2018116-34"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> Many of these covers were produced by Gao Qifeng.<sup id="cite_ref-FOOTNOTERoberts201358_42-1" class="reference"><a href="#cite_note-FOOTNOTERoberts201358-42"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> </p><p>The pages of <i>The True Record</i> contained numerous paintings by the Gaos and other artists,<sup id="cite_ref-FOOTNOTEAndrewsShen201235_10-2" class="reference"><a href="#cite_note-FOOTNOTEAndrewsShen201235-10"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> with two issues including sections dedicated to the staff artists.<sup id="cite_ref-FOOTNOTELiang2022_1-6" class="reference"><a href="#cite_note-FOOTNOTELiang2022-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Tigers were commonly depicted, <a href="/wiki/Allegory" title="Allegory">allegorically</a> calling for boldness and bravery in the nation-building process;<sup id="cite_ref-FOOTNOTECochran2006121_14-1" class="reference"><a href="#cite_note-FOOTNOTECochran2006121-14"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> lions and eagles, favourites of Gao Qifeng that were understood to reflect a revolutionary spirit,<sup id="cite_ref-FOOTNOTEGuangdong_Museum,_Gao_Qifeng_43-0" class="reference"><a href="#cite_note-FOOTNOTEGuangdong_Museum,_Gao_Qifeng-43"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> also appeared.<sup id="cite_ref-FOOTNOTEFloriani2023224_11-6" class="reference"><a href="#cite_note-FOOTNOTEFloriani2023224-11"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Political <i>manhua</i>, 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.<sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>k<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><p>Almost two hundred photographs<sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>l<span class="cite-bracket">]</span></a></sup> were included in <i>The True Record</i> throughout its run, including thirty in the first issue alone.<sup id="cite_ref-FOOTNOTEPanXu2011133_25-3" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011133-25"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> The political activities of Sun Yat-sen were covered extensively, with a particular focus on his interactions with the common person.<sup id="cite_ref-FOOTNOTEFloriani2023228_47-0" class="reference"><a href="#cite_note-FOOTNOTEFloriani2023228-47"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> Military subjects such as field exercises and the naval fleet were frequently depicted as well.<sup id="cite_ref-FOOTNOTEPanXu2011134_22-1" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011134-22"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> International stories also featured, with three issues<sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>m<span class="cite-bracket">]</span></a></sup> including coverage of the <a href="/wiki/Balkan_Wars" title="Balkan Wars">Balkan Wars</a>.<sup id="cite_ref-FOOTNOTEPanXu2011134_22-2" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011134-22"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Text">Text</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_True_Record&action=edit&section=8" title="Edit section: Text"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Art was frequently discussed in the articles of <i>The True Record</i>. 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.<sup id="cite_ref-FOOTNOTEAndrewsShen201235_10-3" class="reference"><a href="#cite_note-FOOTNOTEAndrewsShen201235-10"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> 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>.<sup id="cite_ref-FOOTNOTEGu2013133_49-0" class="reference"><a href="#cite_note-FOOTNOTEGu2013133-49"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> 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>.<sup id="cite_ref-FOOTNOTEPanXu2011215–216_50-0" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011215–216-50"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> </p> <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"><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" 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-file-width="1702" data-file-height="2438" /></a><figcaption>Coverage of <a href="/wiki/Song_Jiaoren" title="Song Jiaoren">Song Jiaoren</a>'s assassination</figcaption></figure> <p>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.<sup id="cite_ref-FOOTNOTETaoYang2017214–215_51-0" class="reference"><a href="#cite_note-FOOTNOTETaoYang2017214–215-51"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTENishigami20186_52-0" class="reference"><a href="#cite_note-FOOTNOTENishigami20186-52"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-53" class="reference"><a href="#cite_note-53"><span class="cite-bracket">[</span>n<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTELiang2022_1-7" class="reference"><a href="#cite_note-FOOTNOTELiang2022-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Elsewhere, articles explored the practice of art globally,<sup id="cite_ref-FOOTNOTEPanXu2011215_54-0" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011215-54"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> 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>.<sup id="cite_ref-FOOTNOTEPanXu2011215–216_50-1" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011215–216-50"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> Several works of creative fiction, both prose and poetry, were also included.<sup id="cite_ref-FOOTNOTEHongLi2022_21-1" class="reference"><a href="#cite_note-FOOTNOTEHongLi2022-21"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p><p>To fulfil its social mandate, <i>The True Record</i> also offered news and social commentary.<sup id="cite_ref-FOOTNOTEAndrewsShen201235_10-4" class="reference"><a href="#cite_note-FOOTNOTEAndrewsShen201235-10"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> These generally promoted the perspectives of the nationalist movement, such that the magazine has been described as its mouthpiece.<sup id="cite_ref-FOOTNOTELiang2022_1-8" class="reference"><a href="#cite_note-FOOTNOTELiang2022-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> The advancement of the nation was often discussed. One article argued that technology news could promote innovation and stimulate social progress<sup id="cite_ref-55" class="reference"><a href="#cite_note-55"><span class="cite-bracket">[</span>o<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWarra199969_56-0" class="reference"><a href="#cite_note-FOOTNOTEWarra199969-56"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> 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><sup id="cite_ref-FOOTNOTEWarra199970–71_57-0" class="reference"><a href="#cite_note-FOOTNOTEWarra199970–71-57"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> or condemned the practice of miserly living.<sup id="cite_ref-FOOTNOTEWarra199982_58-0" class="reference"><a href="#cite_note-FOOTNOTEWarra199982-58"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> </p><p>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.<sup id="cite_ref-FOOTNOTEFloriani2023226_59-0" class="reference"><a href="#cite_note-FOOTNOTEFloriani2023226-59"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> Several articles detailed individuals who had fought against the Qing dynasty, such as <a href="/wiki/Shi_Jianru" title="Shi Jianru">Shi Jianru</a>,<sup id="cite_ref-FOOTNOTEXia2017203_60-0" class="reference"><a href="#cite_note-FOOTNOTEXia2017203-60"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> who had attempted to kill the Qing governor of Guangdong in 1900,<sup id="cite_ref-FOOTNOTEWakeman2003168_61-0" class="reference"><a href="#cite_note-FOOTNOTEWakeman2003168-61"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> 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><span class="noprint" style="font-size:85%; font-style: normal;"> [<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>]</span>,<sup id="cite_ref-FOOTNOTEXia2017203_60-1" class="reference"><a href="#cite_note-FOOTNOTEXia2017203-60"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> 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><span class="noprint" style="font-size:85%; font-style: normal;"> [<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>]</span>.<sup id="cite_ref-FOOTNOTEDaiWang2019171_62-0" class="reference"><a href="#cite_note-FOOTNOTEDaiWang2019171-62"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> Some articles, such as "Chu Ziwen Destroys His Family to Help the Country",<sup id="cite_ref-63" class="reference"><a href="#cite_note-63"><span class="cite-bracket">[</span>p<span class="cite-bracket">]</span></a></sup> 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?".<sup id="cite_ref-64" class="reference"><a href="#cite_note-64"><span class="cite-bracket">[</span>q<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEPanXu2011115_65-0" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011115-65"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> </p><p>Initially, nationalist publications such as <i>The True Record</i> 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.<sup id="cite_ref-FOOTNOTECai2023_66-0" class="reference"><a href="#cite_note-FOOTNOTECai2023-66"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> Problems such as an ineffective government and weak bureaucracy were highlighted.<sup id="cite_ref-FOOTNOTEWong200233_33-1" class="reference"><a href="#cite_note-FOOTNOTEWong200233-33"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> This peaked in 1913, when <i>The True Record</i> 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.<sup id="cite_ref-67" class="reference"><a href="#cite_note-67"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTEFloriani2023233_31-2" class="reference"><a href="#cite_note-FOOTNOTEFloriani2023233-31"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Impact_and_analysis">Impact and analysis</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_True_Record&action=edit&section=9" title="Edit section: Impact and analysis"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>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, <i>The True Record</i> drew the vitality needed to "push the culture and art of Shanghai to a new height";<sup id="cite_ref-68" class="reference"><a href="#cite_note-68"><span class="cite-bracket">[</span>r<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEPanXu2011133_25-4" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011133-25"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> 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>.<sup id="cite_ref-FOOTNOTEPanXu2011138_69-0" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011138-69"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTECai2023_66-1" class="reference"><a href="#cite_note-FOOTNOTECai2023-66"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> </p><p>In the realm of publication, <i>The True Record</i> was one of the first illustrated magazines in the Republic of China,<sup id="cite_ref-FOOTNOTEGu2013131_12-1" class="reference"><a href="#cite_note-FOOTNOTEGu2013131-12"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> as well as its first art journal.<sup id="cite_ref-70" class="reference"><a href="#cite_note-70"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> Liang Desuo, an editor of the pictorial magazine <i><a href="/wiki/The_Young_Companion" title="The Young Companion">The Young Companion</a></i>, considered it to be the beginning of photography in Chinese pictorial magazines;<sup id="cite_ref-FOOTNOTEPanXu2011133_25-5" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011133-25"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTEFloriani2023224_11-7" class="reference"><a href="#cite_note-FOOTNOTEFloriani2023224-11"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> In her history of photography in China, Claire Roberts describes <i>The True Record</i> as one of the most important illustrated magazines published in the first years of the republic.<sup id="cite_ref-FOOTNOTERoberts201358_42-2" class="reference"><a href="#cite_note-FOOTNOTERoberts201358-42"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> </p><p>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 <i>The True Record</i> is among the best examples of the process through which photography was used side-by-side with other forms of imagery, including prints, <i>manhua</i>, and reproductions of paintings to create new understandings of "truth" in Chinese visual culture.<sup id="cite_ref-71" class="reference"><a href="#cite_note-71"><span class="cite-bracket">[</span>s<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEGu2013133–134_72-0" class="reference"><a href="#cite_note-FOOTNOTEGu2013133–134-72"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> 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 <i>The True Record</i> positioned photography as a more timely and objective medium.<sup id="cite_ref-FOOTNOTEXia2017203_60-2" class="reference"><a href="#cite_note-FOOTNOTEXia2017203-60"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> 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 <i><a href="/wiki/Dianshizhai_Pictorial" title="Dianshizhai Pictorial">Dianshizhai Pictorial</a></i><sup id="cite_ref-73" class="reference"><a href="#cite_note-73"><span class="cite-bracket">[</span>t<span class="cite-bracket">]</span></a></sup> had contained some news coverage, they relied on hand-drawn illustrations and thus their photography tended to place greater emphasis on everyday life.<sup id="cite_ref-FOOTNOTEPanXu2011134_22-3" class="reference"><a href="#cite_note-FOOTNOTEPanXu2011134-22"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Explanatory_notes">Explanatory notes</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_True_Record&action=edit&section=10" title="Edit section: Explanatory notes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <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"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">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).</span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Also known as Fuzhou Road (<span lang="zh">福州路</span>); this street was renowned as a center of the book trade in Shanghai (<a href="#CITEREFWarra1999">Warra 1999</a>, p. 63).</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">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).</span> </li> <li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text">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).</span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text">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)</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text"><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.</span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text">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).</span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">In <i><a href="/wiki/Grove_Art_Online" title="Grove Art Online">Grove Art Online</a></i>, 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><span class="noprint" style="font-size:85%; font-style: normal;"> [<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>]</span> 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 <i><a href="/wiki/Southern_Metropolis_Daily" title="Southern Metropolis Daily">Southern Metropolis Daily</a></i>, <a href="#CITEREFWang2008">Wang (2008)</a> notes that this exile narrative is not universally accepted.</span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text">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).</span> </li> <li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text">Original: <span lang="zh">｢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｣</span>. Translation by <a href="#CITEREFLiang2022">Liang (2022)</a>.</span> </li> <li id="cite_note-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-44">^</a></b></span> <span class="reference-text">The magazine's primary political cartoonists He Jianshi, Zheng Nuquan, and Ma Xingchi (<span lang="zh">马星驰</span>) used more than a dozen pen-names between them (<a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 134).</span> </li> <li id="cite_note-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-46">^</a></b></span> <span class="reference-text">Chinese has several terms for photography, including <span lang="zh">摄影</span> (<i>shèyǐng</i>) and <span lang="zh">照片</span> (<i>zhàopiàn</i>). <i>The True Record</i> used the term <span lang="zh">寫真</span> (<i>xiězhēn</i>), which <a href="#CITEREFFloriani2023">Floriani (2023</a>, p. 225) translates as "transcription of truth".</span> </li> <li id="cite_note-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-48">^</a></b></span> <span class="reference-text">Issues 12, 13, and 14.</span> </li> <li id="cite_note-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-53">^</a></b></span> <span class="reference-text">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).</span> </li> <li id="cite_note-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-55">^</a></b></span> <span class="reference-text">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).</span> </li> <li id="cite_note-63"><span class="mw-cite-backlink"><b><a href="#cite_ref-63">^</a></b></span> <span class="reference-text">Original: <span lang="zh">｢楚子文毁家纾国难｣</span>.</span> </li> <li id="cite_note-64"><span class="mw-cite-backlink"><b><a href="#cite_ref-64">^</a></b></span> <span class="reference-text">Original: <span lang="zh">｢国即是家, 国之不存, 家于何有｣</span></span> </li> <li id="cite_note-68"><span class="mw-cite-backlink"><b><a href="#cite_ref-68">^</a></b></span> <span class="reference-text">Original <span lang="zh">｢将上海这座都市的文化艺术推向一个崭新的高｣</span>.</span> </li> <li id="cite_note-71"><span class="mw-cite-backlink"><b><a href="#cite_ref-71">^</a></b></span> <span class="reference-text">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).</span> </li> <li id="cite_note-73"><span class="mw-cite-backlink"><b><a href="#cite_ref-73">^</a></b></span> <span class="reference-text">This magazine was a supplement to the newspaper <i><a href="/wiki/Shen_Bao" title="Shen Bao">Shen Bao</a></i> (<a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 134).</span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_True_Record&action=edit&section=11" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <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"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTELiang2022_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTELiang2022_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTELiang2022_1-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTELiang2022_1-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTELiang2022_1-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-FOOTNOTELiang2022_1-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-FOOTNOTELiang2022_1-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-FOOTNOTELiang2022_1-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-FOOTNOTELiang2022_1-8"><sup><i><b>i</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFLiang2022">Liang 2022</a>.</span> </li> <li id="cite_note-FOOTNOTEMcKenna2023-2"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEMcKenna2023_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEMcKenna2023_2-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFMcKenna2023">McKenna 2023</a>.</span> </li> <li id="cite_note-FOOTNOTEFloriani2023231-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEFloriani2023231_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEFloriani2023231_3-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFFloriani2023">Floriani 2023</a>, p. 231.</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 131; <a href="#CITEREFChu1998">Chu 1998</a>, p. 69</span> </li> <li id="cite_note-FOOTNOTEAndrews201822-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEAndrews201822_6-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFAndrews2018">Andrews 2018</a>, p. 22.</span> </li> <li id="cite_note-FOOTNOTEAndrews201823-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEAndrews201823_7-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFAndrews2018">Andrews 2018</a>, p. 23.</span> </li> <li id="cite_note-FOOTNOTEAndrews201826-8"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEAndrews201826_8-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEAndrews201826_8-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEAndrews201826_8-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEAndrews201826_8-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFAndrews2018">Andrews 2018</a>, p. 26.</span> </li> <li id="cite_note-FOOTNOTEPanXu2011132-9"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEPanXu2011132_9-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPanXu2011132_9-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPanXu2011132_9-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPanXu2011132_9-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPanXu2011132_9-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPanXu2011132_9-5"><sup><i><b>f</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 132.</span> </li> <li id="cite_note-FOOTNOTEAndrewsShen201235-10"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEAndrewsShen201235_10-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEAndrewsShen201235_10-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEAndrewsShen201235_10-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEAndrewsShen201235_10-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTEAndrewsShen201235_10-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFAndrewsShen2012">Andrews & Shen 2012</a>, p. 35.</span> </li> <li id="cite_note-FOOTNOTEFloriani2023224-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEFloriani2023224_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEFloriani2023224_11-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEFloriani2023224_11-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEFloriani2023224_11-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTEFloriani2023224_11-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-FOOTNOTEFloriani2023224_11-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-FOOTNOTEFloriani2023224_11-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-FOOTNOTEFloriani2023224_11-7"><sup><i><b>h</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFFloriani2023">Floriani 2023</a>, p. 224.</span> </li> <li id="cite_note-FOOTNOTEGu2013131-12"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEGu2013131_12-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEGu2013131_12-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFGu2013">Gu 2013</a>, p. 131.</span> </li> <li id="cite_note-FOOTNOTEWong200214-13"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEWong200214_13-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWong200214_13-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFWong2002">Wong 2002</a>, p. 14.</span> </li> <li id="cite_note-FOOTNOTECochran2006121-14"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTECochran2006121_14-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTECochran2006121_14-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFCochran2006">Cochran 2006</a>, p. 121.</span> </li> <li id="cite_note-FOOTNOTECroizier202368-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECroizier202368_15-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 68.</span> </li> <li id="cite_note-FOOTNOTEChu199869-16"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEChu199869_16-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEChu199869_16-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFChu1998">Chu 1998</a>, p. 69.</span> </li> <li id="cite_note-FOOTNOTEWong200232-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEWong200232_18-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFWong2002">Wong 2002</a>, p. 32.</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text"><a href="#CITEREFWang2008">Wang 2008</a>; <a href="#CITEREFZhu2017">Zhu 2017</a></span> </li> <li id="cite_note-FOOTNOTEHongLi2022-21"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEHongLi2022_21-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEHongLi2022_21-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFHongLi2022">Hong & Li 2022</a>.</span> </li> <li id="cite_note-FOOTNOTEPanXu2011134-22"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEPanXu2011134_22-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPanXu2011134_22-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPanXu2011134_22-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPanXu2011134_22-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 134.</span> </li> <li id="cite_note-FOOTNOTEWarra199962-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEWarra199962_23-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFWarra1999">Warra 1999</a>, p. 62.</span> </li> <li id="cite_note-FOOTNOTEPanXu2011133-25"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEPanXu2011133_25-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPanXu2011133_25-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPanXu2011133_25-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPanXu2011133_25-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPanXu2011133_25-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPanXu2011133_25-5"><sup><i><b>f</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 133.</span> </li> <li id="cite_note-FOOTNOTEFloriani2023236-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEFloriani2023236_26-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFFloriani2023">Floriani 2023</a>, p. 236.</span> </li> <li id="cite_note-FOOTNOTERoberts201360-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTERoberts201360_29-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFRoberts2013">Roberts 2013</a>, p. 60.</span> </li> <li id="cite_note-FOOTNOTEFloriani2023233-31"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEFloriani2023233_31-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEFloriani2023233_31-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEFloriani2023233_31-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFFloriani2023">Floriani 2023</a>, p. 233.</span> </li> <li id="cite_note-FOOTNOTESpence2013265-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTESpence2013265_32-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFSpence2013">Spence 2013</a>, p. 265.</span> </li> <li id="cite_note-FOOTNOTEWong200233-33"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEWong200233_33-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWong200233_33-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFWong2002">Wong 2002</a>, p. 33.</span> </li> <li id="cite_note-FOOTNOTETang2018116-34"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTETang2018116_34-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTETang2018116_34-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTETang2018116_34-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFTang2018">Tang 2018</a>, p. 116.</span> </li> <li id="cite_note-FOOTNOTECroizier2023171-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECroizier2023171_35-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 171.</span> </li> <li id="cite_note-FOOTNOTECochran2006122-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECochran2006122_36-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCochran2006">Cochran 2006</a>, p. 122.</span> </li> <li id="cite_note-FOOTNOTERoberts201359-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTERoberts201359_39-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFRoberts2013">Roberts 2013</a>, p. 59.</span> </li> <li id="cite_note-FOOTNOTEGu2013134-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGu2013134_41-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGu2013">Gu 2013</a>, p. 134.</span> </li> <li id="cite_note-FOOTNOTERoberts201358-42"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTERoberts201358_42-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTERoberts201358_42-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTERoberts201358_42-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFRoberts2013">Roberts 2013</a>, p. 58.</span> </li> <li id="cite_note-FOOTNOTEGuangdong_Museum,_Gao_Qifeng-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGuangdong_Museum,_Gao_Qifeng_43-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGuangdong_Museum,_Gao_Qifeng">Guangdong Museum, Gao Qifeng</a>.</span> </li> <li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text"><a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 134; <a href="#CITEREFWong2002">Wong 2002</a>, p. 33</span> </li> <li id="cite_note-FOOTNOTEFloriani2023228-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEFloriani2023228_47-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFFloriani2023">Floriani 2023</a>, p. 228.</span> </li> <li id="cite_note-FOOTNOTEGu2013133-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGu2013133_49-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGu2013">Gu 2013</a>, p. 133.</span> </li> <li id="cite_note-FOOTNOTEPanXu2011215–216-50"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEPanXu2011215–216_50-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPanXu2011215–216_50-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, pp. 215–216.</span> </li> <li id="cite_note-FOOTNOTETaoYang2017214–215-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTETaoYang2017214–215_51-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFTaoYang2017">Tao & Yang 2017</a>, pp. 214–215.</span> </li> <li id="cite_note-FOOTNOTENishigami20186-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTENishigami20186_52-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFNishigami2018">Nishigami 2018</a>, p. 6.</span> </li> <li id="cite_note-FOOTNOTEPanXu2011215-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEPanXu2011215_54-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 215.</span> </li> <li id="cite_note-FOOTNOTEWarra199969-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEWarra199969_56-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFWarra1999">Warra 1999</a>, p. 69.</span> </li> <li id="cite_note-FOOTNOTEWarra199970–71-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEWarra199970–71_57-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFWarra1999">Warra 1999</a>, pp. 70–71.</span> </li> <li id="cite_note-FOOTNOTEWarra199982-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEWarra199982_58-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFWarra1999">Warra 1999</a>, p. 82.</span> </li> <li id="cite_note-FOOTNOTEFloriani2023226-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEFloriani2023226_59-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFFloriani2023">Floriani 2023</a>, p. 226.</span> </li> <li id="cite_note-FOOTNOTEXia2017203-60"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEXia2017203_60-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEXia2017203_60-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEXia2017203_60-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFXia2017">Xia 2017</a>, p. 203.</span> </li> <li id="cite_note-FOOTNOTEWakeman2003168-61"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEWakeman2003168_61-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFWakeman2003">Wakeman 2003</a>, p. 168.</span> </li> <li id="cite_note-FOOTNOTEDaiWang2019171-62"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEDaiWang2019171_62-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFDaiWang2019">Dai & Wang 2019</a>, p. 171.</span> </li> <li id="cite_note-FOOTNOTEPanXu2011115-65"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEPanXu2011115_65-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 115.</span> </li> <li id="cite_note-FOOTNOTECai2023-66"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTECai2023_66-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_66-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFCai2023">Cai 2023</a>.</span> </li> <li id="cite_note-67"><span class="mw-cite-backlink"><b><a href="#cite_ref-67">^</a></b></span> <span class="reference-text">quoted in <a href="#CITEREFLiu2019">Liu (2019)</a></span> </li> <li id="cite_note-FOOTNOTEPanXu2011138-69"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEPanXu2011138_69-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 138.</span> </li> <li id="cite_note-70"><span class="mw-cite-backlink"><b><a href="#cite_ref-70">^</a></b></span> <span class="reference-text"><a href="#CITEREFHongLi2022">Hong & Li 2022</a>; <a href="#CITEREFPanXu2011">Pan & Xu 2011</a>, p. 132</span> </li> <li id="cite_note-FOOTNOTEGu2013133–134-72"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGu2013133–134_72-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGu2013">Gu 2013</a>, pp. 133–134.</span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="Works_cited">Works cited</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_True_Record&action=edit&section=12" title="Edit section: Works cited"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <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<span class="reference-accessdate">. Retrieved <span class="nowrap">17 September</span> 2024</span>.</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"></span></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 <i>The Ladies' Journal</i> (1915–1931)". In Hockx, Michel; Judge, Joan; Mittler, Barbara (eds.). <i>Women and the Periodical Press in China's Long Twentieth Century</i>. Cambridge: Cambridge University Press. pp. <span class="nowrap">21–</span>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"></span></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"><i>The Art of Modern China</i></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"></span></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]. <i>Dute News</i> (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<span class="reference-accessdate">. Retrieved <span class="nowrap">17 September</span> 2024</span>.</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"></span></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"><i>A Century in Crisis: Modernity and Tradition in the Art of Twentieth-century China</i></a>. New York: Guggenheim Museum. pp. <span class="nowrap">40–</span>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"></span></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"><i>Chinese Medicine Men: Consumer Culture in China and Southeast Asia</i></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"></span></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"><i>Art and Revolution in Modern China: The Lingnan (Cantonese) School of Painting, 1906–1951</i></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"></span></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"><i>Hebei Women's Normal Education Pioneers: One Century's Fragrant Trace of Wisdom</i></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"></span></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"><i>China: A Modern History</i></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"></span></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". 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London: Bloomsbury. pp. <span class="nowrap">223–</span>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"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFGu2013" class="citation journal cs1">Gu, Yi (2013). 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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<span class="reference-accessdate">. Retrieved <span class="nowrap">20 September</span> 2024</span>.</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"></span></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>. <i>Grove Art Online</i>. <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"></span></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>. <i>Trans-Asia Photography</i>. <b>9</b> (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>:<span class="id-lock-free" title="Freely accessible"><a rel="nofollow" class="external text" href="https://hdl.handle.net/2027%2Fspo.7977573.0009.204">2027/spo.7977573.0009.204</a></span>.</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"></span></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"><i>Sun Yat-sen in Hawaii: Activities and Supporters</i></a>. 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Retrieved <span class="nowrap">21 September</span> 2024</span>.</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"></span></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)] <span class="cs1-format">(PDF)</span>. <i>Bulletin of the Graduate School of Social and Cultural Systems</i> (in Japanese) (15): <span class="nowrap">1–</span>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"></span></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"] <span class="cs1-format">(PDF)</span>. <i>Journal of Shanghai University</i> (in Chinese): <span class="nowrap">131–</span>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> <span class="cs1-format">(PDF)</span> 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"></span></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"><i>Photography and China</i></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"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSpence2013" class="citation book cs1">Spence, Johnathan D. (2013). <i>The Search for Modern China</i> (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"></span></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]. <i>Modern China Studies</i> (in Chinese). <b>25</b> (2): <span class="nowrap">113–</span>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"></span></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] <span class="cs1-format">(PDF)</span>. <i>Jiangsu Social Sciences</i> (in Chinese) (5): <span class="nowrap">208–</span>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"></span></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"><i>Spymaster: Dai Li and the Chinese Secret Service</i></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"></span></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]. <i>Southern Metropolis Daily</i> (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<span class="reference-accessdate">. Retrieved <span class="nowrap">17 September</span> 2024</span>.</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"></span> (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"><i>Inventing Nanjing Road: Commercial Culture in Shanghai, 1900–1945</i></a>. Ithaca, New York: Cornell East Asia Program. pp. <span class="nowrap">61–</span>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"></span></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"><i>Hong Kong Comics</i></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"></span></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] <span class="cs1-format">(PDF)</span>. <i>Jiangsu Social Sciences</i> (in Chinese) (1): <span class="nowrap">200–</span>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"></span></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]. <i>rmzxb.com.cn</i> (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<span class="reference-accessdate">. Retrieved <span class="nowrap">17 September</span> 2024</span>.</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"></span></li></ul> </div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?useformat=desktop&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" href="https://en.wikipedia.org/w/index.php?title=The_True_Record&oldid=1282100983">https://en.wikipedia.org/w/index.php?title=The_True_Record&oldid=1282100983</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:Art_magazines_published_in_China" title="Category:Art magazines published in China">Art magazines published in China</a></li><li><a href="/wiki/Category:Defunct_Chinese-language_magazines" title="Category:Defunct Chinese-language magazines">Defunct Chinese-language magazines</a></li><li><a href="/wiki/Category:Defunct_magazines_published_in_China" title="Category:Defunct magazines published in China">Defunct magazines published in China</a></li><li><a href="/wiki/Category:Magazines_disestablished_in_1913" title="Category:Magazines disestablished in 1913">Magazines disestablished in 1913</a></li><li><a href="/wiki/Category:Magazines_established_in_1912" title="Category:Magazines established in 1912">Magazines established in 1912</a></li><li><a href="/wiki/Category:Magazines_published_in_Shanghai" title="Category:Magazines published in Shanghai">Magazines published in Shanghai</a></li><li><a href="/wiki/Category:Political_magazines_published_in_China" title="Category:Political magazines published in China">Political magazines published in China</a></li></ul></div><div id="mw-hidden-catlinks" class="mw-hidden-catlinks mw-hidden-cats-hidden">Hidden categories: <ul><li><a href="/wiki/Category:Articles_containing_Chinese-language_text" title="Category:Articles containing Chinese-language text">Articles containing Chinese-language text</a></li><li><a href="/wiki/Category:Articles_with_short_description" title="Category:Articles with short description">Articles with short description</a></li><li><a href="/wiki/Category:Short_description_matches_Wikidata" title="Category:Short description matches Wikidata">Short description matches Wikidata</a></li><li><a href="/wiki/Category:Featured_articles" title="Category:Featured articles">Featured articles</a></li><li><a href="/wiki/Category:Use_dmy_dates_from_September_2024" title="Category:Use dmy dates from September 2024">Use dmy dates from September 2024</a></li><li><a href="/wiki/Category:Articles_containing_simplified_Chinese-language_text" title="Category:Articles containing simplified Chinese-language text">Articles containing simplified Chinese-language text</a></li><li><a href="/wiki/Category:Articles_containing_traditional_Chinese-language_text" title="Category:Articles containing traditional Chinese-language text">Articles containing traditional Chinese-language text</a></li><li><a href="/wiki/Category:CS1_uses_Chinese-language_script_(zh)" title="Category:CS1 uses Chinese-language script (zh)">CS1 uses Chinese-language script (zh)</a></li><li><a href="/wiki/Category:CS1_Chinese-language_sources_(zh)" title="Category:CS1 Chinese-language sources (zh)">CS1 Chinese-language sources (zh)</a></li><li><a href="/wiki/Category:CS1_uses_Japanese-language_script_(ja)" title="Category:CS1 uses Japanese-language script (ja)">CS1 uses Japanese-language script (ja)</a></li><li><a href="/wiki/Category:CS1_Japanese-language_sources_(ja)" title="Category:CS1 Japanese-language sources (ja)">CS1 Japanese-language sources (ja)</a></li></ul></div></div> </div> </main> </div> <div class="mw-footer-container"> <footer id="footer" class="mw-footer" > <ul id="footer-info"> <li id="footer-info-lastmod"> This page was last edited on 24 March 2025, at 09:40<span class="anonymous-show"> (UTC)</span>.</li> <li id="footer-info-copyright">Text is available under the <a href="/wiki/Wikipedia:Text_of_the_Creative_Commons_Attribution-ShareAlike_4.0_International_License" title="Wikipedia:Text of the Creative Commons Attribution-ShareAlike 4.0 International License">Creative Commons Attribution-ShareAlike 4.0 License</a>; additional terms may apply. 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