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Six Poems on the Lotus Marshes in running-cursive scrip

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At A Glance

On View

Period

ca. 1528-29
Geography

China
Material

Ink on paper
Dimension

H x W: 25.9 x 702.5 cm (10 3/16 x 276 9/16 in)
Accession Number

F1980.2
EDAN ID

edanmdm:fsg_F1980.2

Object Details

Artist

Wang Chong (1494-1533)
Colophon

Xiang Yuanbian (1525-1590)

Weng Fanggang (1733-1818)

Tiebao (1752-1824)
Label

Wang Chong

A native of Wuxian 吳縣 (modern Suzhou), Wang Chong (1494–1533) came from a merchant background. Selected to study in the local government school, Wang and his brother met famed Wu School artist Wen Zhengming (1470–1559) in 1508. Despite their age differences, the trio developed a lifelong friendship and artistic bond, socializing frequently and contributing to the same projects. While Wang was a brilliant poet and calligrapher, he failed the provincial exams eight times before finally abandoning the idea of a government career. Fortunately, his calligraphy was highly valued in his hometown, and he lived on the support of friends and patrons until he died shortly before turning thirty-nine.

Calligraphy

Comprising six original poems and a dedication, this scroll is the grandest and most visually impressive of Wang Chong’s surviving works. Because Wang both authored and wrote the poems, their imagery and ideas are intimately tied to the pace and expressiveness of the calligraphy. Wang clearly wished to impress the recipient, a wealthy younger friend named Yuan Bao, which explains the unusually monumental quality of his writing as well as the expensive and exceptional materials, such as the lustrous black ink and decorative blue paper.

Recipient

On the final sheet of paper (not shown), Wang Chong dedicated the scroll to Yuan Bao 袁褒 (1499–1577). Also native to Wuxian, Yuan Bao was one of the “Six Talents of the Yuan Family,” a group of brothers and cousins who were prominent poets, scholars, collectors, and book publishers in sixteenth-century Suzhou. Most importantly in this context, the Yuans were also wealthy patrons and supporters of local gentleman artists, who were often unemployed or without reliable sources of income.

Yuan Bao, a dedicated scholar who loved books, cared little about money and was generous with friends. He was particularly close to Wang Chong, who often found himself in tight financial straits. On one occasion in 1528, Yuan loaned Wang fifty taels of silver, worth about US $5,000 today, at a favorable interest rate.

Interesting Fact

Repeatedly failing at the degree system was not unusual among gentleman artists of Suzhou. Wang Chong’s mentor Cai Yu failed the provincial examination fourteen times, and Wen Zhengming never passed the jinshi exam despite making multiple attempts.

Wang’s six poems, two of which are translated here, describe the Hehuadang 荷花蕩 (Lotus Marshes), located a short distance from Suzhou’s Fengmen 葑門 (Turnip Gate).

青山如屏碧水迴，萬朵菡萏參差開，

歌船舞棹垂楊畔，十里繁華錦繡堆。

Green hills form a screen, the azure waters swirl

Ten thousand lotus buds open at staggered heights

Pleasure boats glide by shores of hanging willows

Ten li of gorgeous colors, a bank of rich brocade

藕枝如玉翠蓮房，白白溪魚紫荇香，

落日舵樓傳玉斝，掌中平列萬山蒼。

Lotus roots resemble jade, blue-green the lotus pods

White Creek fish is white, purple water lilies fragrant

At sunset in the boat cabin, passing goblets of jade

We steer past the level ranks of a myriad verdant hills
Collection

Freer Gallery of Art Collection
Exhibition History

Looking Out, Looking In: Art in Late Imperial China (October 14, 2017 - ongoing)

Painting with Words: Gentlemen Artists of the Ming Dynasty (April 16 to July 24, 2016)

Palaces and Pavilions: Grand Architecture in Chinese Painting (September 29, 2002 to March 30, 2003)

From Concept to Context: Approaches to Asian and Islamic Calligraphy (July 28, 1986 to February 6, 1987)

Ming Dynasty Calligraphy and Painting (February 8, 1985 to August 26, 1985)

Chinese Calligraphy (May 9, 1980 to November 14, 1980)
Origin

China
Credit Line

Purchase — Regents' Collections Acquisition Program
Type

Calligraphy
On View

Freer Gallery 13: Looking Out, Looking In: Art in Late Imperial China
Restrictions and Rights

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