Preface to the Manual of Birds and Flowers

Continuing with woody plants and birds lingmao: literally "feathers and hair," the traditional category for birds and mammals in this sequence is not a new invention. If one observes how the ancients used the terms "flowers and trees" or "insects and birds," the order of precedence was already established in those pairings.

The application of color shese: the technical process of layering pigments in traditional painting to fruits is of equal importance to that of various flowers. Red cherries and vermilion lychees were once precious tributes to the inner imperial court; green plums and crabapples original: "Laiqin" (来禽), literally "attracts birds," a variety of crabapple famously mentioned in the letters of the calligrapher Wang Xizhi have had their names preserved through the calligraphy rubbings of the Jin Dynasty. Thus, it is only fitting to include their likenesses in this album to rival the beauty of the floral subjects. From grasses to trees, and from flowers to fruits, there is a mutual benefit to be gained from studying them together.

As for feathered creatures, their varieties are numerous. Some dwell far off in wild nests, swimming in river reaches or sleeping on sandy banks. Others live close to humanity, darting through rafters and grand buildings, calling out for clear weather or chirping amidst the snow.

In a small format chifu: literally "a foot of silk," referring to the limited space of an album leaf or small scroll, one usually depicts only a clipped branch rather than the entire tree. Placing a small bird upon such a branch is appropriate for the scale of both. However, those birds with magnificent plumage, brocade-like feathers, red necks, and ornate crests are only suitable for large-scale compositions. They should not be shrunk down, lest they lose their realism original: "shizhen" (失真), meaning to lose the "truth" or essence of the subject through improper proportion. How could one possibly be familiar with every single species of bird? One must naturally apply one's heart and mind to the study of their infinite variety.