The Drum Tower, thirty metres high, which helped protect the Forbidden City from malign influences. In imperial times a drum was beaten here at nightfall
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Ch'i Pai Shih affixing his seal on a painting
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Spinning silk floss into thread
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The scroll mounters
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Beating raw cotton to remove the dust and fibres
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Beggar woman and her child. Over the years I often saw her and she was nearly always pregnant
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Fa Hai Ssu (The Law Ocean Temple), a small temple in the Western Hills which was remarkable for its Ming frescos still in excellent state of preservation. The walls on which they had been painted were always in near darkness
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Coal Hill, the artificial hill lying to the north of the Forbidden City
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Duck farm below the city wall
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No title (Two men in opium den)
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The New Year Fair at Liu Li Ch'ang was of special importance for the sale of paintings and other works of art
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The stupa of the Yellow Temple which lay outside the north wall of Peking
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Ch'ien Men, the central southern gate of the Tartar City, taken from near the railway station. The small horse-drawn cabs were rarely to be seen in the latter years of my stay in Peking
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Ch'i Pai Shih (1863-1957), the distinguished painter and calligrapher, at work in his studio. He specialized in painting flowers and aquatic life, especially crabs and prawns
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Ch'i Pai Shih and his young family
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A moon guitar
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Itinerant refreshment stall for children. Wherever there might be a demand, there would be some specialist hawker filling the needs of even the smallest customer
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Schoolboys under martial arts instruction. Traditional martial arts skills and acrobatics were preserved in the theatre and for popular entertainment
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Repairing a painting prior to remounting, work calling for the most exacting skills
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Planting out rice seedlings
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The Forbidden City, view south from Coal Hill
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