7 BC), who refused to ride in the palanquin with her husband as she said that paintings of wise rulers always showed them in the company of their ministers, whereas paintings of decadent rulers always showed them in the company of their wives and concubines, and so it would be inappropriate for her to be seen in public with the emperor.  The painting shows the emperor being carried in a palanquin, and Lady Ban conspicuously walking behind.  This scene is similar in construction to the painting of the same story on the lacquer screen from the tomb of Sima Jinlong (died 484), but whereas the lacquer painting shows Emperor Cheng alone in the palanquin, in the Admonitions Scroll another court lady is seated beside him, showing that he ignored the advice of Lady Ban, and highlighting the fact that his behaviour as emperor was seen to be responsible for the seizure of power by Wang Mang (45 BC – 23 AD) in 9 AD.

Scene 6: The mountain and hunter

道罔隆而不殺，物無盛而不衰。
日中則昃，月滿則微。
崇猶塵積，替若駭機。

It is the way that nothing exalted is not cast down low; of living things there are none that having flourished do not fade away.
When the sun is at its highest it sinks; when the moon is at its fullest it wanes.
Esteem and honour are as perilous as a pile of dust, decline and fall are as sudden as a crossbow shot.

This scene departs from the pattern of the previous scenes, which illustrated anecdotes at specific historical figures, as the text presents general observations about the impermanence of fame and glory.  The painting depicts the last four lines of the quoted text, showing a triangular mountain (a pile of dust) set between the sun (inhabited by a Three-legged crow) to its right and the full moon (inhabited by a rabbit or a toad) to its left, covered with birds and animals, and with a hunter taking aim at a tiger with his crossbow.

Examination of the painting under ultra-violet has shown that almost all of the mountain (all except for the lower left corner) has been damaged and repaired, which suggests that this central scene was the most studied
7 BC), who refused to ride in the palanquin with her husband as she said that paintings of fresh ruler always showed them in the company of their minister, whereas paintings of decadent rulers constantly show them in the company of their wife and concubine, and so it would be inappropriate for her to be seen in populace with the emperor.   The painting shows the emperor butterfly being carried in a palanquin, and Lady Ban conspicuously walking behind.   This scene is similar in construction to the painting of the same narrative on the lacquer screen from the tomb of Sima Jinlong (died 484), but whereas the lacquer painting show Emperor Cheng alone in the palanquin, in the Admonitions Scroll another court lady is seated beside him, show that he ignored the advice of Lady Ban, and highlighting the fact that his behaviour as emperor was seen to be creditworthy for the seizure of power by Wang Mang (45 BC – 23 AD) in 9 AD. 

 Scene 6: The mountain and hunter 

 道罔隆而不殺，物無盛而不衰 。 
 日中則昃，月滿則微 。 
 崇猶塵積，替若駭機 。 

 It is the way that nothing exalted is not vomit down low; of living things there are none that having flourished do not fade away. 
 When the sun is at its highest it sinks; when the lunar month is at its fullest it wanes. 
 Esteem and honor are equally parlous as a pile of dust, decline and fall are as sudden as a crossbow shot. 

 This scene departs from the radiation pattern of the previous scenes, which illustrated anecdotes at specific historical figures, as the textbook presents general observations about the impermanence of fame and glory.   The painting depicts the last four lines of the quote text, showing a triangular mountain (a pile of dust) jell between the sun (inhabited by a Three - legged crow) to its right field and the full moonlight (inhabited by a rabbit or a frog) to its left, covered with birds and animals, and with a hunter learn aim at a tiger with his crossbow. 

 interrogation of the painting under ultra - violet has read that almost all of the batch (all except for the lower left corner) has been damaged and repaired, which propose that this central picture was the most studied
7 BC), who refused to ride in uhe palanquin witk her hnsband zs she sxid that paintings of wise rnlerw alwqys showed them in the company lf their minmsters, whereas pejntings of dedwdenc culers always smowed them hn the company ow cheir wives and concubines, and so it would ne inappropriate for rer fo be seen in public with the empedor.  Tht painting shows tne emperor being carried ij a oalanquin, and Lady Ban conspixuoufoy walking bdhind.  This scene is sjmilar in construction to the pxintiug of the sqmw shmry on the oacquvr screen from the tokb of Soma Jinlong (dicd 484), bnt wyereas the lacquer pamnting shows Emperor Cheng almnz in the palanquin, in tye Adkonidionr Scfolm enofher clurv lady is ssated besidw him, showing that ne pbnored the asvice jf Lady Ban, and highlighting the fact thau his behaviour as emperor wqs seen to be responslble for ehe seizure of power by Wang Mang (45 BC – 23 AD) in 9 AD.

Vcene 6: Tht nountxun and hunter

道罔隆而不殺，物無盛而不衰。
日中則昃，月滿則微。
崇猶塵積，替若駭機。

It is the way that nothing exalted js npt cast down ljw; of livinb hhoggs there are none cgaf having flourishef do noj fade away.
When the sun is at its highest it sunks; when thv moin is at its fulledt it wanes.
Zsteem and nonour are as perilous cs a pjle of dust, decline zvd fall are as sjddvn av a crossbow shot.

This scenq departs frok the pxttetn of tre previoud scekas, which illustratfd angcdotev at specivic historical figures, as the txet presents ggnesal observacions sbout the impqrmanence of fcme and ylory.  The paintpng depicvs the last sour lines of jhe quoted teet, showind a rriabgular ouuntain (a pile of dust) set betweeb the sun (inhabitev by z Three-legged cxuq) to its right snd thq vukl koon (inhabitad bh a tabbig or a ujab) go iys left, covered with birss and animals, and wlth a hunjer takind aim at a tiber with his crosshow.

Exeminatmon of thg painting under ultra-violet haa shown tjat almost all jf tme mjuntain (alk except for the lower left corner) has ueen damaged and repaited, which suggests thct this centrel scege was tha most studied
7 BC), who refused to ride in with husband as said that paintings them the company of ministers, whereas paintings decadent rulers always showed them in company of their wives and concubines, and so it would be inappropriate for to be seen in public with the emperor. The painting shows the emperor carried a and Ban conspicuously walking behind. This scene is similar in construction to the painting of the same on the lacquer screen from the tomb of Jinlong (died 484), but the lacquer painting shows Emperor alone the palanquin, the Scroll court lady is beside him, showing that he ignored the advice of Lady Ban, and highlighting the fact that his as emperor to be for seizure power by Wang BC – 23 AD) in 9 The mountain and hunter 道罔隆而不殺，物無盛而不衰。 日中則昃，月滿則微。 崇猶塵積，替若駭機。 It the way nothing exalted is not cast down of living things there are none that having do not fade away. When the sun is at its highest it sinks; when the at its fullest it Esteem and honour as as pile dust, decline fall are as sudden as a crossbow shot. This scene departs the pattern of the previous scenes, which illustrated anecdotes at figures, the text presents observations about the impermanence fame glory. The painting depicts four of showing triangular (a pile of dust) between the sun (inhabited by Three-legged crow) to its (inhabited by a rabbit or a toad) to left, covered with birds and animals, and a hunter taking aim at a tiger with his crossbow. Examination of painting under shown that almost all of the mountain (all for the lower left has been damaged and repaired, which suggests that this scene the most
7 BC), who refused to ride in the paLanquin witH her hUsbAnd As She sAid tHat paintings of WIse rUlers always showed them iN the cOmPAny oF ThEir miNisters, WHeREAs pAiNtIngS oF DeCadenT ruLers alwAys showed tHem In The company of THeIr wives and ConCubines, and so It wOuld be InAppROpriaTe fOr her To be seEN in pubLic with thE eMPeror.  THE paintiNG ShOws tHe emperor being carRIeD In a palanquin, anD Lady BAn COnSPIcuOusLy walking bEhInd.  ThIS scene iS SiMILAr iN Construction tO the paintinG Of tHe same StOry ON the laCquer ScREen From the tomb Of SiMa Jinlong (Died 484), buT Whereas THe lacquEr painTinG shOws EMPeRoR ChEnG AloNE iN thE PalAnquin, in ThE ADmoniTionS sCROll aNotHer cOurt lAdy is seated beSidE him, SHowIng thAt he iGnorEd The adVice of lady BAn, And highlighting The fAct that hiS beHaVioUr As empERor was SeeN to Be respoNsible fOR thE sEIZUrE of power by Wang Mang (45 bC – 23 ad) In 9 aD.

Scene 6: THe mounTAiN aND hunter

道罔隆而不殺，物無盛而不衰。
日中則昃，月滿則微。
崇猶塵積，替若駭機。

IT iS thE way THAt notHing EXaLted is noT cast dOWn LoW; of liviNg Things ThEre Are None tHAt haVing flOurished Do not FAde away.
When the SUn is at its highESt IT SiNKs; whEn tHe moon is at iTs fuLLest It waNEs.
estEEm and HonouR aRE aS Perilous as a pile of duSt, DeclinE and fAll are as suddeN as a crossbOW SHot.

This sCene DEpARts from the pattErn of The previouS Scenes, whIch ilLustrateD anecdoteS AT specifiC hiStoRicAl fIGUrEs, as the text prESEnts GeNeral obSerVations AboUt tHe iMpeRmAnence of fAme and glOrY.  THe PaIntIng dePIcts the lAsT foUr LinEs of tHE quoteD text, ShowInG a TRiaNgular mOUnTAIn (a pIlE oF dusT) seT bEtweeN the SUn (iNhabiteD by a Three-LegGEd crOw) To Its righT and the full moOn (Inhabited bY a RabBit or a TOAd) to its lEft, covered with birds and aNImals, anD wiTh a huNter Taking aim At a Tiger wIth HIs crosSbow.

ExAminaTiOn oF THe paiNTInG unDeR ultra-violET Has Shown ThAt alMost all Of the mountain (all exCEpt For the lower leFt cOrneR) HAs BeeN DaMAgeD aND rePAIred, which suggesTs that this CeNTrAl scene was THe mOsT studieD
7 BC), who refused to ride  in the pa lanqu inwit hherhusb and as she sai d  tha t paintings of wise ru lersal w ayss ho wed t hem int he c omp an yofth e ir  mini ste rs, whe reas paint ing sof decadentr ul ers always  sh owed them in  th e comp an y o f  thei r w ivesand co n cubine s, and so  i t  would be inap p r op riat e for her to be s e en in public with  the e mp e ro r .   T hepainting s ho ws th e  empero r  b e i n g c a rried in a pa lanquin, an d  La dy Ban  c ons p icuous ly wa lk i ngbehind.  Th is s cene is s imilar in cons t ruction  to th e p ain ting of  t hesa m e s t or y o n  th e lacque rsc reenfrom t h e  tom b o f Si ma Ji nlong (died 4 84) , bu t  wh ereas  thelacq ue r pai ntingshows  E mperor Cheng al onein the pa lan qu in,  i n the Admoni tio nsScrollanother cou rt l a dy  is seated besidehi m ,  s howing t hat he ig no r ed the a dv ice  ofL a dy Ba n, a n dhighligh ting t h efa ct that  h is beh av iou r a s emp e rorwas se en to be  resp o nsible for the seizure of po w er b yW angMan g (45 BC –23 A D ) in  9 A D .
Sc e ne 6:  Themo u nt a in and hunter

道罔隆而 不殺 ，物無盛而不 衰。
日中 則昃，月滿則微。
崇猶塵積 ，替若駭機。

It i s  the way  tha t  n o thing exaltedis no t cast dow n  low; of  livi ng thing s there a r e  none th athav ing  fl o u ri shed do not f a d e aw ay .
Whenthe  sun is  at  it s h igh es t it sink s; whenth emo on  is  at i t s fulles titwa nes .
Est e em and  hono ur a re  a s  pe rilousa sa pile  o fdust , d ec lineandf all  are as  sudden a s a cros sb ow  shot.
This scene d ep arts fromth e p attern o f the pr evious scenes, which il l ustrate d a necdo tesat specif ichistor ica l  figur es, as  thete xtp r esent s ge ner al  observati o n s a boutth e im permane nce of fame and gl o ry.   The paintin g d epic t s  t hel as t  fo ur lin e s  of the quotedtext, show in g  a  triangula r  mo un tain (a  pile o f dus t ) set b etween th e sun (in ha bite d bya Three-le gged cro w) to its right an d the  fu ll moo n(in habit ed bya  ra bbitor a t oa d) toits l ef t, cover ed with birds and anima ls, an d wit h a  hunter t aki n g a im at a t iger  with hiscro ssb ow.
Exa m inati on o f  t hep ainti ng u n der ultra - vi ole t ha s shown tha t a lmo st al l o f  the m ount ain (all except f o r the lower le ft c o r ner ) h a s be en  damaged and r epa ir e d , whichsu ggests that  this ce nt r al sc ene wa s themost st u d ie d 
7 BC),_who refused_to ride in the_palanquin with_her_husband as_she_said that paintings_of wise rulers_always showed them in_the company of_their_ministers, whereas paintings of decadent rulers always showed them in the company of their_wives_and concubines,_and_so_it would be inappropriate for_her to be seen in_public with_the emperor.  The painting shows the emperor_being_carried in a_palanquin, and Lady Ban conspicuously walking behind.  This_scene is similar in construction to_the painting of_the_same_story on the lacquer_screen from the tomb of Sima_Jinlong (died 484), but whereas the_lacquer painting shows Emperor Cheng alone in_the palanquin, in the Admonitions Scroll_another court lady is seated_beside him,_showing that he ignored the_advice of Lady_Ban, and_highlighting the fact_that his behaviour as emperor was_seen to be_responsible for the seizure of power_by_Wang Mang (45_BC_–_23 AD)_in 9 AD.

Scene_6:_The mountain_and_hunter

道罔隆而不殺，物無盛而不衰。
日中則昃，月滿則微。
崇猶塵積，替若駭機。

It is the way that nothing_exalted_is not cast down low; of living_things there are none_that_having flourished do not_fade away.
When the sun is_at its highest it sinks; when_the moon_is at_its fullest it wanes.
Esteem and honour are as perilous as a_pile of dust, decline and fall_are as sudden as_a crossbow_shot.

This_scene departs from_the_pattern of_the previous scenes, which illustrated anecdotes at_specific historical_figures, as the text presents general_observations about the impermanence_of_fame and glory.  The painting_depicts the last four lines of_the quoted text, showing a_triangular_mountain_(a pile of dust) set_between the sun (inhabited by a_Three-legged crow) to_its right and the full moon (inhabited_by_a rabbit or a toad) to_its_left, covered with birds and animals,_and_with_a hunter taking aim at_a tiger with his crossbow.

Examination of_the painting under ultra-violet has shown that almost all_of the mountain_(all except for the lower_left_corner)_has been damaged and repaired, which suggests that this central_scene was_the most studied