 prepares the household meals.
Solemn and dignified in bearing, with pure virtue she gazes up reverently.

The introductory scene in the Palace Museum copy, missing in the British Museum copy, simply shows a man in court dress and a woman facing each other, representing the basic theme of the painting, that is the role of women in feudal society and the proper relationship between man and woman.  The image is disturbed by a line of text from Zhang Hua's Admonitions text awkwardly placed in between the two figures, but as this line should go with the following scene, it has been taken as evidence that the first three scenes in the Palace Museum copy are not entirely modeled upon the original.

Scene 2: Lady Fan

樊姬感莊，不食鮮禽。

Lady Fan, in order to move King Zhuang, would eat neither fish nor fowl.

This scene illustrates the story of Lady Fan, a consort of King Zhuang of Chu (died 591 BC), who remonstrated against her husband's excessive hunting and lavish banqueting by refusing to eat the meat of any of the animals he killed for three years.  The Palace Museum copy of the painting shows Lady Fan kneeling in front of an empty table, with ritual food vessels standing conspicuously empty and unused nearby.

Scene 3: The Lady of Wei

衛女矯桓，耳忘和音。
志厲義高，而二主易心。

The lady from Wei, in order to reform Duke Huan, made her ears forget the harmonious sounds.
They had strict aspirations and a lofty sense of righteousness, and so the two lords undertook a change of heart.

This scene illustrates the story of the Lady of Wei, a consort of Duke Huan of Qi (died 643 BC), who remonstrated against her husband's love of licentious music by refusing to listen to such music, even though she herself was a great musical talent.  The Palace Museum copy of the painting shows the Lady of Wei listening  to morally uplifting ritual court music played on sets of bells and chimes, which would have been very different from the immoderate and perhaps immodest musical performances her husband preferred.

Scene 4: Lady Feng and the bear

玄熊攀檻，�
prepares the household meals. 
 Solemn and dignified in carriage, with arrant virtue she gazes up reverently. 

 The basic scene in the Palace Museum copy, missing in the British Museum transcript, just shows a man in court dress and a womanhood facing each other, present the basic root of the painting, that is the role of women in feudal society and the proper relationship between man and charwoman.   The image is disturbed by a line of textbook from Zhang Hua's Admonitions text awkwardly placed in between the two figure, but as this line should rifle with the following scene, it has been taken as evidence that the first three scenes in the Palace Museum transcript are not entirely modeled upon the original. 

 Scene 2: Lady Fan 

 樊姬感莊，不食鮮禽 。 

 Lady Fan, in order to move King Zhuang, would eat neither fish nor domestic fowl. 

 This scene illustrates the story of Lady Fan, a consort of King Zhuang of Chu (died 591 BC), who remonstrated against her husband's excessive hunting and lavish banqueting by refusing to eat the kernel of any of the animals he killed for three class.   The Palace Museum copy of the painting shows Lady Fan kneeling in front of an empty mesa, with ritual food vessels standing conspicuously empty and unused nearby. 

 Scene 3: The Lady of Wei 

 衛女矯桓，耳忘和音 。 
 志厲義高，而二主易心 。 

 The dame from Wei, in order to reform Duke Huan, made her ears forget the harmonious sounds. 
 They had strict aspirations and a lofty sense of righteousness, and so the two lords undertook a variety of heart. 

 This setting illustrate the story of the Lady of Wei, a consort of Duke Huan of Qi (died 643 BC), who remonstrated against her husband's beloved of licentious music by refusing to listen to such music, even though she herself was a great melodious talent.   The Palace Museum transcript of the painting shows the Lady of Wei listening   to morally uplifting ritual court music played on set of bells and chime, which would have been very different from the immoderate and perhaps immodest musical performances her husband prefer. 

 Scene 4: Lady Feng and the bear 

 玄熊攀檻 ， �
 prfpares the household meaus.
Solemn and diybified in bezring, wigh pure virtue she gazes up ceveeentlt.

The introductory scend in the Ialace Muweum xopy, missiif in thc Briflsh Mbsxum copy, simply shows a mdn in court drasr cnd a woman facing each other, represqnting yhf basic theme jf tnq pajnting, that is the role of women ih feudan society and the proper relationship bftwefn man and woman.  Hhe image iw difrurbed by a uine of teqc from Zhanf Hua's Admonitions text awkwarduy plcced in betqewn hve two figuces, bun as this linc shoulg go wiyh the followikg scxne, ut has been taken as xvidence that the fitst three vcznes in the Palace Muweym coky ara nog engirtly mkdeled upkn the orifinal.

Scene 2: Lady Fan

樊姬感莊，不食鮮禽。

Lady Fan, im jgcer to move Iing Zruwng, would eat neither fish nor fowl.

This scsne illustrates the stoey of Lady Fan, a conslrt of Kigg Zhuang of Chu (died 591 BC), who remonstrated againsd her fusyqnd's dzcfssive hunting and lavish banqueting by refusyhg tp eat the meat of any of yhf sgimals he kilued fox tgree years.  The Papace Mufeum xopy of tre psinting shows Lady Fan kneeoing in fronn of an empty table, wich ritual foud vgssels standing conspicuously empfy and unusfd nearby.

Azene 3: The Lady ow Wvi

衛女矯桓，耳忘和音。
志厲義高，而二主易心。

Tha lady from Wei, in order tj reform Vuke Kuan, madd het ears sorget the harmonious sounds.
They hwd sttict avpirations and a lofty sense of righteousixss, and so thg tfo nords unbertool a change of heart.

This sceue illuscrates the story of the Lady of Wey, a consort ox Duke Huan oh Qi (died 643 BC), who remonsgfated against ner husbaub's love od licentious music by defusing to lisctn uo such music, evrn ghotgj xhq herself was a gfeag musizal taltut.  Ghe Lalace Museum copy ox ths painting shows tne Lady of Wei liseening  to motally uplifting riuual cmurv musiv pjayed on sets of bells and chijes, which womld have been vern disferent frpm the immoderate and perhaps immodest nusical performancws her husband prefgrrtd.

Scene 4: Lady Feng and the tear

玄熊攀檻，�
prepares the household meals. Solemn and dignified with virtue she up reverently. The Museum missing in the Museum copy, simply a man in court dress and woman facing each other, representing the basic theme of the painting, that is role of women in feudal society and the proper relationship between man and The is by line of text from Zhang Hua's Admonitions text awkwardly placed in between the two figures, but this line should go with the following scene, has been taken as that the first three scenes the Museum copy not modeled the original. Scene Lady Fan 樊姬感莊，不食鮮禽。 Lady Fan, in order to move King Zhuang, would eat neither fish nor fowl. scene illustrates of Lady a of Zhuang of Chu BC), who remonstrated against her husband's lavish banqueting by refusing to eat the meat any of animals he killed for three years. Palace Museum copy of the painting shows Lady kneeling in front of an empty table, with ritual food vessels standing conspicuously empty and Scene 3: The Lady Wei 衛女矯桓，耳忘和音。 志厲義高，而二主易心。 lady Wei, order reform Duke made her ears forget the harmonious sounds. They had strict aspirations a lofty sense of righteousness, and so the two lords change heart. This scene the story of the of a consort of Duke Qi 643 against husband's of licentious music by to listen to such music, though she herself was Palace Museum copy of the painting shows the of Wei listening to morally uplifting ritual music played on sets of bells and chimes, which would have been different from and perhaps immodest musical performances her husband preferred. 4: Lady Feng and bear 玄熊攀檻，�
 prepares the household meals.
solemn and dIgnifIed In bEaRing, With Pure virtue she gAZes uP reverently.

The introducTory sCeNE in tHE PAlace museum cOPy, MISsiNg In The brITiSh MusEum Copy, simPly shows a mAn iN cOurt dress and A WoMan facing eAch Other, represeNtiNg the bAsIc tHEme of The PaintIng, thaT Is the rOle of womeN iN Feudal SOciety aND ThE proPer relationship beTWeEN man and woman.  ThE image Is DIsTURbeD by A line of texT fRom ZhANg Hua's ADMoNITIonS Text awkwardly Placed in betWEen The two FiGurES, but as This lInE ShoUld go with thE folLowing sceNe, it haS Been takEN as evidEnce thAt tHe fIrst THrEe SceNeS In tHE PAlaCE MuSeum copy ArE nOt entIrelY MODEled UpoN the OrigiNal.

Scene 2: Lady FAn

樊姬感莊，不食鮮禽。

LAdy FAN, in Order To movE KinG ZHuang, Would eAt neiThEr fish nor fowl.

ThIs scEne illustRatEs The StOry of lAdy Fan, A coNsoRt of KinG Zhuang OF ChU (dIED 591 bC), Who remonstrated agaInST HeR husband'S excesSIvE hUNting and LaVisH banQUEting By reFUsIng to eat The meaT Of AnY of the aNiMals he KiLleD foR threE YearS.  The PaLace MuseUm copY Of the painting sHOws Lady Fan kneELiNG In FRont Of aN empty table, With RItuaL fooD VeSseLS stanDing cOnSPiCUously empty and unuseD nEarby.

SCene 3: THe Lady of Wei

衛女矯桓，耳忘和音。
志厲義高，而二主易心。

ThE lady from WEI, IN order to RefoRM DUKe Huan, made her eArs foRget the harMOnious soUnds.
THey had stRict aspirATIons and a LofTy sEnsE of RIGhTeousness, and sO THe twO lOrds undErtOok a chaNge Of hEarT.

ThIs Scene illuStrates tHe StOrY oF thE Lady OF Wei, a conSoRt oF DUke huan oF qi (died 643 bC), who RemoNsTrATed Against HEr HUSbanD's LoVe of LicEnTious MusiC By rEfusing To listen tO suCH musIc, EvEn thougH she herself waS a Great musicAl TalEnt.  The pALace MuseUm copy of the painting showS The Lady Of WEi lisTeniNg  to moralLy uPliftiNg rITual coUrt musIc plaYeD on SETs of bELLs And ChImes, which wOULd hAve beEn Very DiffereNt from the immoderatE And Perhaps immodeSt mUsicAL PeRfoRMaNCes HeR HusBANd preferred.

ScenE 4: Lady Feng aNd THe Bear

玄熊攀檻，�
 prepares the household me als.
Solem n and  di gni fi ed i n be aring, with pu r e vi rtue she gazes up reve rentl y. 
The in trodu ctory s c en e inth ePal ac e  M useum  co py, mis sing in th e B ri tish Museumc op y, simplysho ws a man incou rt dre ss  an d  a wo man  faci ng eac h  other , represe nt i ng the basic t h e me  ofthe painting, tha t  i s  the role of w omen i nf eu d a l s oci ety and th eprope r  relati o ns h i p  be t ween man andwoman.  The ima ge isdi stu r bed by  a li ne oftext from Z hang  Hua's Ad moniti o ns text awkward ly pla ced  in  bet w ee nthe  t w o f i gu res ,  bu t as thi sli ne sh ould g o with  th e fo llowi ng scene, ithas  bee n  ta ken a s evi denc ethatthe fi rst t hr ee scenes in th e Pa lace Muse umco pyar e not entire lymod eled up on theo rig in a l . 
Scene 2: Lady Fan
樊 姬 感 莊， 不食鮮禽。

L ady Fa n ,in order to  m ove  Kin g Zhuan g, w o ul d eat ne itherf is hnor fow l. 

This  s cen e i llust r ates  the s tory ofLadyF an, a consorto f King Zhuang of C hu (die d 5 91 BC), who  rem o nstr ated ag ain s t her  husb an d 's excessive hunting a nd  lavis h ban queting by re fusing toe a t  the mea t of an y  of the animal s hekilled for three ye ars. The Pal ace Museu m copy ofthe  pa int ing s ho ws Lady Fan k n e elin gin fron t o f an em pty  ta ble , w it h ritualfood ves se ls  s ta ndi ng co n spicuous ly  em pt y a nd un u sed ne arby. 

Sc en e3 : T he Lady of W ei
衛女 矯桓 ，耳忘和 音。志厲 義高，而二 主易心。 
Th e ladyfrom Wei,  in orde rto  reform  Duke Huan, m ad e her ears  f org et the h armoniou s sounds.
They had stri c t aspir ati ons a nd a  lofty se nse  of ri ght e ousnes s, and  so t he  tw o lords u nd ert oo k a change o f h eart. 
This  sceneillustrates the st o ryof the Lady o f W ei,a co nso r to f D uk e  Hu a n  of Qi (died 64 3 BC), who  r e mo nstrated a g ain st  her hu sband's  love of lice ntious mu sic by re fu sing t o l isten to s uch musi c, even t h oughs he  hers elf  was a  g rea t mus ical t a len t.  T he Pal ac e Muse um co py  of thepainting shows the Lady  of We i lis ten ing  to m ora l lyuplifting  rit ual courtmus icplaye d o n  sets  ofb el lsa nd ch imes ,  which wo u ld  ha v e  b een very di f f e ren t fro m t h e immo dera te and perhaps im m odest musicalperf o r man ces herhu sband preferre d.
S c e ne 4: La dy  Feng and t he bear
玄 熊 攀檻，�
 prepares_the household_meals.
Solemn and dignified in_bearing, with_pure_virtue she_gazes_up reverently.

The introductory_scene in the_Palace Museum copy, missing_in the British_Museum_copy, simply shows a man in court dress and a woman facing each other,_representing_the basic_theme_of_the painting, that is the_role of women in feudal_society and_the proper relationship between man and woman. _The_image is disturbed_by a line of text from Zhang Hua's Admonitions_text awkwardly placed in between the_two figures, but_as_this_line should go with_the following scene, it has been_taken as evidence that the first_three scenes in the Palace Museum copy_are not entirely modeled upon the_original.

Scene 2: Lady Fan

樊姬感莊，不食鮮禽。

Lady Fan,_in order_to move King Zhuang, would_eat neither fish_nor fowl.

This_scene illustrates the_story of Lady Fan, a consort_of King Zhuang_of Chu (died 591 BC), who_remonstrated_against her husband's_excessive_hunting_and lavish_banqueting by refusing_to_eat the_meat_of any of the animals he_killed_for three years.  The Palace Museum_copy of the painting_shows_Lady Fan kneeling in_front of an empty table,_with ritual food vessels standing conspicuously_empty and_unused nearby.

Scene_3: The Lady of Wei

衛女矯桓，耳忘和音。
志厲義高，而二主易心。

The lady from Wei, in order to_reform Duke Huan, made her ears_forget the harmonious sounds.
They_had strict_aspirations_and a lofty_sense_of righteousness,_and so the two lords undertook a_change of_heart.

This scene illustrates the story of_the Lady of Wei,_a_consort of Duke Huan of Qi_(died 643 BC), who remonstrated against_her husband's love of licentious_music_by_refusing to listen to such_music, even though she herself was_a great musical_talent.  The Palace Museum copy of_the_painting shows the Lady of Wei_listening_ to morally uplifting ritual court_music_played_on sets of bells and_chimes, which would have been very_different from the immoderate and perhaps immodest musical performances_her husband preferred.

Scene_4: Lady Feng and the_bear

玄熊攀檻，�