¹ See, for example, Weidner, Marsha et al. , Views from Jade Terrace: Chinese Women Artists 1300–1912 (Indianapolis: Indianapolis Museum of Art, 1988)Google Scholar; Weidner, Marsha, “The Conventional Success of Ch'en Shu,” in Flowering in the Shadows: Women in the History of Chinese and Japanese Painting, ed. Weidner, Marsha (Honolulu: University of Hawai‘i Press, 1990), 123–56Google Scholar; Yuho, Tseng, “Women Painters of the Ming Dynasty,” Artibus Asiae 53/1–2 (1993): 249–61CrossRefGoogle Scholar; Wetzel, Jean, “Hidden Connections: Courtesans in the Art World of the Ming Dynasty,” Women's Studies 31/5 (2002): 645–69CrossRefGoogle Scholar; and Lee, Hui-shu, “Voices from the Crimson Clouds Library: Reading Liu Rushi's (1618–1664) Misty Willows by Moonlit Dike,” Journal of Chinese Literature and Culture 2/1 (2015): 173–206CrossRefGoogle Scholar.

² Shuyu, Tang, Yutai hua shi (Qiantang: Wang shi Zhenqitang, 1837), 3.1a–31bGoogle Scholar.

³ Qian Qianyi 錢謙益 (1582–1664) discusses her in Qian Qianyi, comp., Liechao shiji xiaozhuan 列朝詩集小傳 [Collected poems throughout the dynasties, with biographical sketches], 81 juan, 2 vols. (reprint, Taipei: Shijie shuju, 1961), run ji 閏集, 2:735–36.