LONG CHIN-SAN (LANG JINSHAN) | Photography, Calligraphy and Poster of Long Chin-San (set of 51)

Important Private Asian Collection

01 Winter Forest
Taipei, National Chiang Kai-shek Memorial Hall Chiang Kai-shek Gallery, The Beauty of the Eighties: Joint Exhibition of Senior Artists, 25 April – 11 May 1995, this edition exhibited
Kaohsiung , Kaohsiung Cultural Center, The Beauty of the Eighties: Joint Exhibition of Senior Artists, 21 – 29 October 1995, this edition exhibited
Taichung, Taichung City Cultural Center, The Beauty of the Eighties: Joint Exhibition of Senior Artists, 12 – 25 November 1995, this edition exhibited

04 A Subdued Deer
Taipei, National Chiang Kai-shek Memorial Hall Chiang Kai-shek Gallery, The Beauty of the Eighties: Joint Exhibition of Senior Artists, 25 April – 11 May 1995, this edition exhibited
Kaohsiung , Kaohsiung Cultural Center, The Beauty of the Eighties: Joint Exhibition of Senior Artists, 21 – 29 October 1995, this edition exhibited
Taichung, Taichung City Cultural Center, The Beauty of the Eighties: Joint Exhibition of Senior Artists, 12 – 25 November 1995 , this edition exhibited

05 A Nude Sketch
South Africa, The 42^nd South African International Exhibition of Photography, 1998, this edition exhibited

01 Winter Forest
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 49
Kang Tien-Wang, Lin Chin-Tsong, ed., Idyllic Composite Pictures by Chin-San Long, Taipei Fine Arts Museum, Taipei, 1988, p. 59
Chinsan Long’s 100^th Birthday Commemorative Photo Exhibition, National Museum of History, Taipei, 1990, p. 24-5
Painterly Images: The World of Chin-san Long’s Photography, Taipei Gallery, New York, 1993, p. 21
Shen Yi-Cheng, Xue Zhang, ed., The Beauty of the Eighties: Joint Exhibition of Senior Artists, The National Taiwan Arts Education Center, Taipei, 1995, p. 27
The Collection of Hwa Kang Museum: The Photography of Mr Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 1998, p. 71
Master of Photography: Long Chin-San, China Photography Press, Beijing, 2003, p. 7
Hwa Kang Museum Selection (Vol. 14): The Photography of Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 2011, p. 44

02 Beauty in Veil
Shen Yi-Cheng, Xue Zhang, ed., The Beauty of the Eighties: Joint Exhibition of Senior Artists, The National Taiwan Arts Education Center, Taipei, 1995, p. 26
The Collection of Hwa Kang Museum: The Photography of Mr Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 1998, p. 83
Hubei Provincial Museum, ed., Landscape on Negatives: A Special Exhibition of Long Chin-San’s Photographic Works, Cultural Relics Press, Beijing, 2012, p.36
Long Chin-San’s 20^th Anniversary of Death Memorial, National Museum of History, Taipei, 2015, p. 159

03 The Raft
Long Chin-San, Symphony in Black and White, Tongyun Bookstore, Shanghai, 1948,  p. 16
Photographic Works of Chin-San Long, The Photographic Society of China, Taipei, 1972, p. 32
Photographer of China and the Technique of Making Composite Pictures, Echo Magazine, Taipei, 1975, p. 3
The Art of Photography by Chin-San Long, China Cultural Enterprises Ltd, Taipei, 1975, p. 26
Echo No. 1 (Chinese Version), Echo Magazine, Taipei, 1978, p. 75
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 87
Kang Tien-Wang, Lin Chin-Tsong, ed., Idyllic Composite Pictures by Chin-San Long, Taipei Fine Arts Museum, Taipei, 1988, p. 103
Ding Binxuan, Lang Jingshan, Master of Photography, Shanghai Pictorial Press, Shanghai, 1990, p. 47
Photographers, 1992 June, Photographers International Magazine, Taipei, p. 8
Image Magazine, No. 14, Image Magazine, Taipei, 1 May 1995, p. 10
Shen Yi-Cheng, Xue Zhang, ed., The Beauty of the Eighties: Joint Exhibition of Senior Artists, The National Taiwan Arts Education Center, Taipei, 1995, p. 25
The Collection of Hwa Kang Museum: The Photography of Mr Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 1998, p. 52
Master of Photography: Long Chin-San, China Photography Press, Beijing, 2003, p. 1
Hsiao Yung-sheng, The Spirit and the Composite Pictures, Lang Chin-san, Hsiung-Shih Art Publisher, Taipei, 2004, p. 55
Hwa Kang Museum Selection (Vol. 14): The Photography of Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 2011, p. 51
Hubei Provincial Museum, ed., Landscape on Negatives: A Special Exhibition of Long Chin-San’s Photographic Works, Cultural Relics Press, Beijing, 2012, p.36
Shanghai Photographers’ Association, ed., Long Chin-San, Shanghai Culture Press, Shanghai, 2014, p. 170

04 A Subdued Deer
Photographic Art of Chin-san Long, The Photographic Society of China, Taipei, 1972, p. 240
Chinsan Long’s 100^th Birthday Commemorative Photo Exhibition, National Museum of History, Taipei, 1990, p. 70
Painterly Images: The World of Chin-san Long’s Photography, Taipei Gallery, New York, 1993, p. 23
Shen Yi-Cheng, Xue Zhang, ed., The Beauty of the Eighties: Joint Exhibition of Senior Artists, The National Taiwan Arts Education Center, Taipei, 1995, p. 15

05 A Nude Sketch
Long Chin-San, Photographic Works of Chin-San Long, The Photographic Society of China, Taipei, 1972, p. 208
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 124
Kang Tien-Wang, Lin Chin-Tsong, ed., Idyllic Composite Pictures by Chin-San Long, Taipei Fine Arts Museum, Taipei, 1988, p. 136
Master of Photography: Long Chin-San, China Photography Press, Beijing, 2003, p. 85
Hsiao Yung-sheng, The Spirit and the Composite Pictures, Lang Chin-san, Hsiung-Shih Art Publisher, Taipei, 2004, p. 194
Cheng Yin Cultural Enterprise, ed., Long Chin-san’s Photographic Legend, Cheng Yin Cultural Enterprise Co. Ltd, Taipei, 2005, p. 10
Hubei Provincial Museum, ed., Landscape on Negatives: A Special Exhibition of Long Chin-San’s Photographic Works, Cultural Relics Press, Beijing, 2012, p. 130

06 Snowing
Photographic Works of Chin-San Long, The Photographic Society of China, Taipei, 1972, p. 189
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 117
Kang Tien-Wang, Lin Chin-Tsong, ed., Idyllic Composite Pictures by Chin-San Long, Taipei Fine Arts Museum, Taipei, 1988, cover; p. 5 and 137
Painterly Images: The World of Chin-san Long’s Photography, Taipei Gallery, New York, 1993, p. 17
The Collection of Hwa Kang Museum: The Photography of Mr Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 1998, p. 106
Hsiao Yung-sheng, The Spirit and the Composite Pictures, Lang Chin-san, Hsiung-Shih Art Publisher, Taipei, 2004, p. 193
Cheng Yin Cultural Enterprise, ed., Long Chin-san’s Photographic Legend, Cheng Yin Cultural Enterprise Co. Ltd, Taipei, 2005, p.46
Hwa Kang Museum Selection (Vol. 14): The Photography of Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 2011, p. 125
Long Chin-San Art & Cultural Development Association Editorial Committee, ed., Long Chinsan Photography Collection, Artist Publishing, Taipei, 2012, p. 35
Long Chin-San’s 20^th Anniversary of Death Memorial, National Museum of History, Taipei, 2015, p. 67

07 Leaves and Blossoms
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 121
Kang Tien-Wang, Lin Chin-Tsong, ed., Idyllic Composite Pictures by Chin-San Long, Taipei Fine Arts Museum, Taipei, 1988, p. 133
Painterly Images: The World of Chin-san Long’s Photography, Taipei Gallery, New York, 1993, p. 10
Long Chin-San Art & Cultural Development Association Editorial Committee, ed., Long Chinsan Photography Collection, Artist Publishing, Taipei, 2012, p. 160
Long Chin-San’s 20^th Anniversary of Death Memorial, National Museum of History, Taipei, 2015, p. 99

09 Pavilion by Pine Tree
Photographic Art of Chin-san Long, The Photographic Society of China, Taipei, 1972, p. 52
The Collection of Hwa Kang Museum: The Photography of Mr Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 1998, p. 62
Hwa Kang Museum Selection (Vol. 14): The Photography of Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 2011, p. 69

10 Bell Ringing with Clouds
Photographic Works of Chin-San Long, The Photographic Society of China, Taipei, 1972, p. 114
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 52
Kang Tien-Wang, Lin Chin-Tsong, ed., Idyllic Composite Pictures by Chin-San Long, Taipei Fine Arts Museum, Taipei, 1988, p. 62

11 Fog River
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 78-9
Chinsan Long’s 100^th Birthday Commemorative Photo Exhibition, National Museum of History, Taipei, 1990, p. 48-9
Painterly Images: The World of Chin-san Long’s Photography, Taipei Gallery, New York, 1993, p. 9
The Collection of Hwa Kang Museum: The Photography of Mr Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 1998, p. 64-5
Hsiao Yung-sheng, The Spirit and the Composite Pictures, Lang Chin-san, Hsiung-Shih Art Publisher, Taipei, 2004, p. 6-7
Tony Wang, Carol Wu, Agnes Wang, ed., Overseas Collection: Long Chin-San Composite Picture Exhibition, Dimensions Art Centre, Taipei, 2005, p. 32-3

14 Watching Tower at Sunset
Tony Wang, Carol Wu, Agnes Wang, ed., Overseas Collection: Long Chin-San Composite Picture Exhibition, Dimensions Art Centre, Taipei, 2005, p. 11

17 Fishing on a Brook
Long Chin-San, Symphony in Black and White, Tongyun Bookstore, Shanghai, 1948,  p. 62
Techniques in Composite Picture-Making, The China Series Publishing Committee, Taipei, 1958
Photographic Art of Chin-san Long, The Photographic Society of China, Taipei, 1972, p. 41
Photographer of China and the Technique of Making Composite Pictures, Echo Magazine, Taipei, 1975, cover
The Art of Photography by Chin-San Long, China Cultural Enterprises Ltd, Taipei, 1975, plate 3
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 70
Kang Tien-Wang, Lin Chin-Tsong, ed., Idyllic Composite Pictures by Chin-San Long, Taipei Fine Arts Museum, Taipei, 1988, p. 86
The Collection of Hwa Kang Museum: The Photography of Mr Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 1998, p. 39
Master of Photography: Long Chin-San, China Photography Press, Beijing, 2003, p. 23
Hsiao Yung-sheng, The Spirit and the Composite Pictures, Lang Chin-san, Hsiung-Shih Art Publisher, Taipei, 2004, p. 149
Cheng Yin Cultural Enterprise, ed., Long Chin-san’s Photographic Legend, Cheng Yin Cultural Enterprise Co. Ltd, Taipei, 2005, p.12
Hwa Kang Museum Selection (Vol. 14): The Photography of Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 2011, p. 41
Hubei Provincial Museum, ed., Landscape on Negatives: A Special Exhibition of Long Chin-San’s Photographic Works, Cultural Relics Press, Beijing, 2012, p.36

21 Negotiating the Rapids
Photographic Art of Chin-san Long, The Photographic Society of China, Taipei, 1972, p. 30
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 58
Kang Tien-Wang, Lin Chin-Tsong, ed., Idyllic Composite Pictures by Chin-San Long, Taipei Fine Arts Museum, Taipei, 1988, p. 68
The Collection of Hwa Kang Museum: The Photography of Mr Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 1998, p. 50

28 Decoration in a Literati's Studio
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 12-3
Painterly Images: The World of Chin-san Long’s Photography, Taipei Gallery, New York, 1993, p. 13

29 Ethereal Clouds
Shanghai Photographers’ Association, ed., Long Chin-San, Shanghai Culture Press, Shanghai, 2014, p. 165

30 Wilting Moon in the Breezes of Dawn
Long Chin-San, Symphony in Black and White, Tongyun Bookstore, Shanghai, 1948,  p. 11
Composite Pictures and Chinese Art by Chin-san Long FRPS-APSA, Free China Review, Taipei, 1951, plate 26
Photographic Works of Chin-San Long, The Photographic Society of China, Taipei, 1972, p. 121
Photographer of China and the Technique of Making Composite Pictures, Echo Magazine, Taipei, 1975, p. 32
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 77
Kang Tien-Wang, Lin Chin-Tsong, ed., Idyllic Composite Pictures by Chin-San Long, Taipei Fine Arts Museum, Taipei, 1988, p. 93
Chinsan Long’s 100^th Birthday Commemorative Photo Exhibition, National Museum of History, Taipei, 1990, p.

34 Anlan Rope Bridge
Ding Binxuan, Lang Jingshan, Master of Photography, Shanghai Pictorial Press, Shanghai, 1990, p. 63
Master of Photography: Long Chin-San, China Photography Press, Beijing, 2003, p. 41
Cans Chinese Art News: Exhibition of Long Chin-San’s Photography, 2004.06, Chinese Art Books Co., Taipei, p. 66
Hsiao Yung-sheng, The Spirit and the Composite Pictures, Lang Chin-san, Hsiung-Shih Art Publisher, Taipei, 2004, p. 156
Shanghai Photographers’ Association, ed., Long Chin-San, Shanghai Culture Press, Shanghai, 2014, p. 33
Long Chin-San’s 20^th Anniversary of Death Memorial, National Museum of History, Taipei, 2015, p. 118

32 Standing Alone
Composite Pictures and Chinese Art by Chin-san Long FRPS-APSA, Free China Review, Taipei, 1951, plate 1
Painterly Images: The World of Chin-san Long’s Photography, Taipei Gallery, New York, 1993, p. 8

33 A Thousand-Hand Buddha
Long Chin-San, Selected Works of Chin-San Long, Photographic Research Institute of College of Chinese Culture, Taipei, 1971
Photographic Art of Chin-san Long, The Photographic Society of China, Taipei, 1972, p. 147
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 112
Kang Tien-Wang, Lin Chin-Tsong, ed., Idyllic Composite Pictures by Chin-San Long, Taipei Fine Arts Museum, Taipei, 1988, p. 126
Master of Photography: Long Chin-San, China Photography Press, Beijing, 2003, p. 13
Tony Wang, Carol Wu, Agnes Wang, ed., Overseas Collection: Long Chin-San Composite Picture Exhibition, Dimensions Art Centre, Taipei, 2005, p. 20

34 Anlan Rope Bridge
Painterly Images: The World of Chin-san Long’s Photography, Taipei Gallery, New York, 1993, p. 12
Hsiao Yung-sheng, The Spirit and the Composite Pictures, Lang Chin-san, Hsiung-Shih Art Publisher, Taipei, 2004, p. 126
Long Chin-San Art & Cultural Development Association Editorial Committee, ed., Long Chinsan Photography Collection, Artist Publishing, Taipei, 2012, p. 109
Long Chin-San’s 20^th Anniversary of Death Memorial, National Museum of History, Taipei, 2015, p. 68

35 The Spring Blossom
Kang Tien-Wang, Lin Chin-Tsong, ed., Idyllic Composite Pictures by Chin-San Long, Taipei Fine Arts Museum, Taipei, 1988, p. 78
Chinsan Long’s 100^th Birthday Commemorative Photo Exhibition, National Museum of History, Taipei, 1990, p. 46-7
The Collection of Hwa Kang Museum: The Photography of Mr Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 1998, p. 101
Hwa Kang Museum Selection (Vol. 14): The Photography of Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 2011, p. 129
Long Chin-San Art & Cultural Development Association Editorial Committee, ed., Long Chinsan Photography Collection, Artist Publishing, Taipei, 2012, p. 99

37 Thatched Cottages Along the Creek
Long Chin-San, Symphony in Black and White, Tongyun Bookstore, Shanghai, 1948,  p. 49
Composite Pictures and Chinese Art by Chin-san Long FRPS-APSA, Free China Review, Taipei, 1951, plate 21
Shanghai Photographers’ Association, ed., Long Chin-San, Shanghai Culture Press, Shanghai, 2014, p. 29

38 Rising Clouds
Photographic Works of Chin-San Long, The Photographic Society of China, Taipei, 1972, p. 128
Painterly Images: The World of Chin-san Long’s Photography, Taipei Gallery, New York, 1993, p. 23
The Collection of Hwa Kang Museum: The Photography of Mr Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 1998, p. 47
Master of Photography: Long Chin-San, China Photography Press, Beijing, 2003, p. 33
Hwa Kang Museum Selection (Vol. 14): The Photography of Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 2011, p. 37

39 Salt Wells
Photographic Art of Chin-san Long, The Photographic Society of China, Taipei, 1972, p. 71
Photographer of China and the Technique of Making Composite Pictures, Echo Magazine, Taipei, 1975, p. 11
Echo No. 1 (Chinese Version), Echo Magazine, Taipei, 1978, p. 82
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 56
Kang Tien-Wang, Lin Chin-Tsong, ed., Idyllic Composite Pictures by Chin-San Long, Taipei Fine Arts Museum, Taipei, 1988, p. 66
Ding Binxuan, Lang Jingshan: Master of Photography, Shanghai Pictorial Press, Shanghai, 1990, p. 49
Photographers International, 1992.06, Photographers International Magazine, Taipei, p. 10
Image Magazine, No. 14, Image Magazine, Taipei, 1 May 1995, p. 12
The Collection of Hwa Kang Museum: The Photography of Mr Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 1998, p. 56
Master of Photography: Long Chin-San, China Photography Press, Beijing, 2003, p. 11
Cans Chinese Art News: Exhibition of Long Chin-San’s Photography 2004. June, Chinese Art Books Co., Taipei, p. 65
Hsiao Yung-sheng, The Spirit and the Composite Pictures, Lang Chin-san, Hsiung-Shih Art Publisher, Taipei, 2004, cover and p. 122
Cheng Yin Cultural Enterprise, ed., Long Chin-san’s Photographic Legend, Cheng Yin Cultural Enterprise Co. Ltd, Taipei, 2005, p.32
Hwa Kang Museum Selection (Vol. 14): The Photography of Long Chin-San, Chinese Cultural University Hwa Kang Museum, Taipei, 2011, p. 74

40 The Golden Summit
Photographic Art of Chin-san Long, The Photographic Society of China, Taipei, 1972, p. 62
Photographer of China and the Technique of Making Composite Pictures, Echo Magazine, Taipei, 1975, p. 12
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 54
Kang Tien-Wang, Lin Chin-Tsong, ed., Idyllic Composite Pictures by Chin-San Long, Taipei Fine Arts Museum, Taipei, 1988, p. 64
Long Chin-San Art & Cultural Development Association Editorial Committee, ed., Long Chinsan Photography Collection, Artist Publishing, Taipei, 2012, p. 27
Shanghai Photographers’ Association, ed., Long Chin-San, Shanghai Culture Press, Shanghai, 2014, p. 141

42 Bamboo Grove
Photographic Art of Chin-san Long, The Photographic Society of China, Taipei, 1972, p. 69
The Art of Photography by Chin-San Long, China Cultural Enterprises Ltd, Taipei, 1975, plate 21
Photographer of China and the Technique of Making Composite Pictures, Echo Magazine, Taipei, 1975, p. 4
Echo No. 1 (Chinese Version), Echo Magazine, Taipei, 1978, p. 76
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 57
Idyllic Composite Pictures by Chin-San Long, Taipei Fine Arts Museum, Taipei, 1988, p. 67
Hsiao Yung-sheng, The Spirit and the Composite Pictures, Lang Chin-san, Hsiung-Shih Art Publisher, Taipei, 2004, p. 78
Long Chin-San’s 20^th Anniversary of Death Memorial, National Museum of History, Taipei, 2015, p. 233

43 Trail to the Farm
Long Chin-San, Symphony in Black and White, Tongyun Bookstore, Shanghai, 1948,  p. 6
Photographic Works of Chin-San Long, The Photographic Society of China, Taipei, 1972, p. 53
The Art of Photography by Chin-San Long, China Cultural Enterprises Ltd, Taipei, 1975, plate 5
Long Chin-San, Photographic Art by Chin-San Long, The Photographic Society of China, Taipei, 1987, p. 45
Kang Tien-Wang, Lin Chin-Tsong, ed., Idyllic Composite Pictures by Chin-San Long, Taipei Fine Arts Museum, Taipei, 1988, p. 56
Master of Photography: Long Chin-San, China Photography Press, Beijing, 2003, p. 21
Hsiao Yung-sheng, The Spirit and the Composite Pictures, Lang Chin-san, Hsiung-Shih Art Publisher, Taipei, 2004, p. 76
Long Chin-San’s 20^th Anniversary of Death Memorial, National Museum of History, Taipei, 2015, p. 68

45 Pagoda Fairyland
Photographic Works of Chin-San Long, The Photographic Society of China, Taipei, 1972, p. 65

46 Village of Thatched Cottages
Photographic Art of Chin-san Long, The Photographic Society of China, Taipei, 1972, p. 78
Hsiao Yung-sheng, The Spirit and the Composite Pictures, Lang Chin-san, Hsiung-Shih Art Publisher, Taipei, 2004, p. 82-3

48 Shore
Photographic Art of Chin-san Long, The Photographic Society of China, Taipei, 1972, p. 86-7
The Art of Photography by Chin-San Long, China Cultural Enterprises Ltd, Taipei, 1975, plate 2
Hsiao Yung-sheng, The Spirit and the Composite Pictures, Lang Chin-san, Hsiung-Shih Art Publisher, Taipei, 2004, p. 128-9

49 Genesis
Chinese Landscape Photography, The Photographic Society of China, Taipei, 1963, plate 1
Photographic Works of Chin-San Long, The Photographic Society of China, Taipei, 1972, p. 81
Photographer of China and the Technique of Making Composite Pictures, Echo Magazine, Taipei, 1975, p. 1
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 81
Master of Photography: Long Chin-San, China Photography Press, Beijing, 2003, p. 96
Hsiao Yung-sheng, The Spirit and the Composite Pictures, Lang Chin-san, Hsiung-Shih Art Publisher, Taipei, 2004, p. 11

50 Morning Fog
Photographer of China and the Technique of Making Composite Pictures, Echo Magazine, Taipei, 1975, p. 1
Echo No. 1 (Chinese Version), Echo Magazine, Taipei, 1978, p. 101
Photographic Art by Chin-san Long, The Photographic Society of China, Taipei, 1987, p. 66
Idyllic Composite Pictures by Chin-San Long, Taipei Fine Arts Museum, Taipei, 1988, p. 41
Hsiao Yung-sheng, The Spirit and the Composite Pictures, Lang Chin-san, Hsiung-Shih Art Publisher, Taipei, 2004, p. 124
Long Chin-San’s 20^th Anniversary of Death Memorial, National Museum of History, Taipei, 2015, p. 190

The works are in their original condition, with no visible sign of damage.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The Art and Photography of Long Chin-San

In the spring of 2017, Sotheby's Hong Kong presented for the first time the works of Chinese modern photography master Long Chin-San in a special auction titled Moments of Light. Bidders vied for twenty-four valuable and rare works by Long Chin-San, which ultimately achieved white-glove results and set new auction records for the artist. One year later, for this spring's evening auction, Sotheby's is fortunate to have the opportunity to present the valuable collection of a major Asian private collector: forty-eight of Long Chin-San's photographs, two works of his calligraphy, and one exhibition poster (Lot 1025). These items represent the creative quintessence of the artist's entire career, providing an uncommon and precious opportunity for collectors and fans.

Photography technology first emerged in early nineteenth century Europe and subsequently spread throughout the world. A wedding photograph, taken by Long Chin-San’s father in 1869 and hung on the wall in his home, first inspired Long’s interest in photography. This wet-plate photograph made a deep impression on Long at a young age, and one work featured in this auction, Genesis, bears a special inscription: "This photograph resembles the one hung by my deceased father in his parlour one hundred and two years ago. Presented to my young friend Zhenyu. Long Chin-San December 1971." Long gave this photograph to Liu Zhenyu, the former director of the Australian Chinese Cultural Centre. The works featured in this auction have clearly documented provenances, and they have also appeared in important exhibitions and publications around the world. For example, some of the works come from the Su Xiwen Collection of Wenyuan Studios, and others, from the collection of the photographer Ruan Yizhong. A Nude Sketch was sent to South Africa in 1988 for inclusion in the forty-second South Africa International Photography Exhibition, and A Subdued Deer and Winter Forest were featured in Beauty of the Eighties: Joint Exhibition of Senior Artists in Taiwan in 1995, demonstrating the unquestionable value of these artworks.

Art Salons: Long’s International Fame

From a young age, Long Chin-San was exposed to many books of photographs taken by foreigners. But at the time, foreigners in China were mostly interested in photographing opium smokers, women with bound feet, and other negative images of Chinese people. For this reason, Long Chin-San resolved to become an outstanding photographer and spread Chinese culture himself. Beginning in the 1930s, he continuously sent his documentary-style photographs to photography salons around the world. For example, The Raft, shot in 1930 in Sheng county of Zhejiang province, was selected for inclusion in more than twenty international photography salons. Other documentary landscape photographs by Long include Fishing on a Brook、Bell Ringing with Clouds、Watching Tower at Sunset、Village of Thatched Cottages、 Bamboo Grove、Shore、 Salt Wells、Terraces、Morning Fog、Sunset and the Waves. During a period of societal upheaval due to the Anti-Japanese War and the Chinese Civil War, Long worked as a reporter, traveling among cities including Shanghai, Chongqing, and Kunming. In addition to conducting interviews and taking landscapes photographs, Long Chin-San used his camera to capture the everyday lives of working-class labourers in photographs such as Trail to the Farm、Negotiating the Rapids、Anlan Rope Bridge、Angling by the River、A Thousand-Hand Buddha. In this way, he documented people of all walks of life in early twentieth century China.

Following the end of the Chinese Civil War in 1949, the Nationalist Government retreated to Taiwan, and Long Chin-San also overcame several obstacles to relocate from Shanghai to Taiwan. Photography was life for Long, but he was only able to bring four hundred negatives with him. In Taiwan, Long's photography took a turn for the lyrical. Long had always made photographic records of the places he travelled to, and he captured the scenery of Taiwan in images such as Sun Moon Lake. However, his settings were now more limited, so he began shooting in studio with props, producing still life photographs such as  Decoration in a Literati's Studio、 The Spring Blossom、 Birds and Twigs. In the 1960s, Long travelled around the world in order to take more photographs while also sharing Chinese culture with other countries. For example, he took Pavilion by Pine Tree at a beach in South Korea in 1963 while visiting Seoul to participate in a photography exhibition there. A great variety of landscapes around the world became subjects of Long Chin-San's camera. Long captured mother nature's magical moments in his keen observations of mountains, clouds, oceans, and objects, not only recording the beauty of China’s mountainous scenery, but also creating precious representations of the times he lived in.

In addition to landscapes, portraits are another major component of Long Chin-San's photography. In 1928, he boldly broke from convention to take what are considered China's first nude portraits, and he later used innovative techniques to create composite nudes such as Beauty in Veil. In the 1950s, Long Chin-San seemingly photographed every important figure in the realms of politics, culture, and art, including representative portraits like  Yu Youren and Chiang Chungcheng.

"Composite photographs are collections of material that remove the limitations of time, place, distance, and atmosphere. I can select elements from everywhere I go. A flower, a tree, a lake, a stone: they are all materials that can be incorporated into composite photographs."
Long Chin-San

Long Chin-San based his practice of composite photography on the principles of Chinese traditional painting. His method was no ordinary collaging; rather, Long emphasized the Chinese aesthetic concept of rhythmic vitality in order to root his photographic works in Chinese cultural traditions. Long 's composite photographs were also often included in photography salons. Majestic Solitude, a 1934 photograph sold in last year's Moments of Light auction, was Long 's first composite photograph to be selected by a British photography salon, and it helped establish his unique reputation in the photography world. Thomas R.  Kennedy, President of the American Photography Association, once said: "Mr. Long is Chinese, and he has studied Chinese painting. He is the first person to apply the principles of Chinese painting to photography." Wilting Moon in the Breezes of Dawn, an image with qualities of poetry and painting, is an example of the sanyuan or "three distances" concept of Chinese painting. Long created this work out of four different negatives; the result is a classically Chinese misty realm, a pioneering work of Long's photographic skill. Other composite works by Long include Clouds Across the Emerald Heights、Rising Clouds、Winter Forest、The Golden Summit、Thatched Cottages Along the Creek、 Ethereal Clouds、Yacht on Qiantang River、Fog River、Company、A Subdued Deer、Standing Alone、Exquisite Beauty Through the Moon、Pagoda Fairyland。Additionally, for Lakeside Scenary, he created a long strip of photographic paper in the style of a traditional Chinese horizontal scroll painting. This work, another picturesque Chinese scene, is a composite of composites, and the number of negatives used alone make it an extraordinary work of art and the magnum opus of Long 's composite photography. Most editions of Lakeside Scenary are digital prints, but this lot is an extremely rare silver salt print. In 1995, Long personally gifted this final composite masterpiece to the National Museum of History. In 2015, the Ministry of Culture of the Republic of China officially named Lakeside Scenary an important historical object – a classification second only to "national treasure". Without a doubt, it is a representative work of Long Chin-San's composite photography.

From Photography to Modern Composite photogram

In addition to his creative work as a photographer, in the 1950s Long Chin-San created a series of shadow paintings uninhibited by the limitations of the camera. Inspired by the American artist Man Ray, Long placed objects directly onto photographic paper and then exposed them to light in order to create abstract silhouette images, or "shadow paintings". In his dark room, Long used dried flowers, tree branches, strips of bamboo, dead mosquitos, talcum powder, and other objects for these multimedia creations. Leaves and Blossoms was created with flowers and dead mosquitos; Snowing, with talcum powder, dried flowers and bamboo strips; A Nude Sketch comprises nothing more than simple lines and small beads of the sort used by tailors. Long was pursuing this new avenue at the same time as he experimented with his composite style of photography, and the influence of Western art styles became increasingly evident in his artwork. Composite photographs such as Reincarnation、Two Illusory Shadows、Monument of Brightness are reminiscent of the Pop Art style, with geometric constructions that also recall Western compositional ideas. From Eastern Buddha statues to Western monuments, Long's photographs from this era incorporated a variety of superimposed elements. His style had evolved from his earlier days, lending his tableaus a completely different flavour and depth.

Long Chin-San was active in twentieth century artistic circles in the fields of poetry, painting, photography, and calligraphy; influenced by his father's affinity for art, Long began studying calligraphy at the age of ten. He devoted his entire life to the arts, and he particularly loved calligraphy and photography. He was still working as a centenarian, producing outstanding calligraphy, including two sets of couplets, Calligraphy Couplet in Xingshu and Rainbow Hills, that number among the fifty-one lots in this auction. These works tell the complete story of Long Chin-San's creative excellence. Using his camera in the place of a brush, he reinterpreted the Chinese tradition of landscape painting. Due to the settings he chose, the painting techniques he employed, the composite methods he used in the dark room, Long 's photographs could be appropriately described as painting-photographs or photography-paintings. He helped to share Chinese cultural aesthetics with international art circles, and in the most direct way possible, he used a freehand style to reveal China's magnificent mountains and rivers to the entire world.