Limitless Longevity Buddha Wuliangshou Fo, 1925Hanging scroll, ink and color on paper, inscribed by the artist with a dedication from Fang Juchuan to Yun Zhai dated yichou, and signed Bailong Shanren with three artist's sealsWang Zhen, Yiting and Fo, and a collector's seal Yang Qilin (Yeo Khee Lim (1917-1998).53 3/4 x 13in (136 x 33cm) 王震 無量壽佛 一九二五年作 設色紙本 立軸 Provenance/來源:Far East Fine Arts, San Francisco, California加州舊金山遠東藝術中心Published/出版:Toda, Teisuke and Hiromitsu Ogawa comp. Comprehensive Illustrated Catalogue of Chinese Paintings, Third Series, Volume 1: American and Canadian Collections, University of Tokyo Press, 2013, A50-186, p. 218戶田禎佑、小川裕充，《中國繪畫總合圖錄》三編，第一卷，東京大學出版會，東京，2013年，A50-186，頁218 Andrews, Julia Frances, Michael Knight, and Pauline Yao. Between the Thunder and the Rain: Chinese Paintings from the Opium War Through the Cultural Revolution, 1840-1979, San Francisco: Echo Rock Ventures, in association with the Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, 2000, p. 150Andrews, Julia Frances, Michael Knight, and Pauline Yao,《風雲際會：從鴉片戰爭到「文革」（1840-1979）的中國繪畫》，亞洲藝術博物館，李鐘文亞洲藝術文化中心，舊金山，加州，2000年，頁150 Little, Stephen, and J. May Lee Barrett. New Songs on Ancient Tunes: 19th-20th Century Chinese Paintings and Calligraphy from the Richard Fabian Collection, Honolulu: Honolulu Academy of Arts, 2007, pp. 324-325 Little, Stephen, J. May Lee Barrett,《古調新歌：費立哲神父珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年，頁324-325 Exhibited/展覽: Between the Thunder and the Rain, Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, San Francisco, California, October 25, 2000-January 14, 2001 《風雲際會：從鴉片戰爭到「文革」（1840-1979）的中國繪畫》，亞洲藝術博物館，舊金山，加州，2000年10月25日至2001年1月14日 New Songs on Ancient Tunes, Honolulu Art Academy, Honolulu, Hawaii, August 30-October 28, 2007 《古調新歌：費立哲神父珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年8月30日至10月28日This painting was commissioned by Fang Juquan, a Ningbo native and an important figure in the Republic period banking sector. The artist Wang Zhen, had also been involved in the banking community beginning with an internship at a qianzhuang (錢莊) private bank when he was fifteen years old. The subject of the painting, Wuliangshuo Fo (Amitabha), depicts the Buddha of the Western Paradise, and was among the many Buddhist themes that Wang Zhen--himself a devout Buddhist--favored. The seal in the lower corner ties the painting to the renown Singapore connoisseur Yeo Khee Lim (1917-1998), who formed the Xiu Hai Lou (袖海樓) collection.