The Hall of Precious Paintings

Artist: Copy after Qiu Ying 仇英 (ca. 1494-1552)
Historical period(s)
Ming or Qing dynasty, 17th century
Ink and color on silk
H x W (image): 197.5 x 98.4 cm (77 3/4 x 38 3/4 in)
Credit Line
Gift of Charles Lang Freer
Freer Gallery of Art
Accession Number
On View Location
Currently not on view

Hanging scroll (mounted on panel)

blue-and-green style, China, landscape, Ming dynasty (1368 - 1644), pine tree, Qing dynasty (1644 - 1911)

To 1909
Loon Gu Sai, Beijing, to 1909 [1]

From 1909 to 1919
Charles Lang Freer (1854-1919), purchased from Loon Gu Sai, Beijing in 1909 [2]

From 1920
Freer Gallery of Art, gift of Charles Lang Freer in 1920 [3]


[1] See Original Kakemono and Makimono List, L. 614, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. According to Ingrid Larsen, "'Don’t Send Ming or Later Pictures': Charles Lang Freer and the First Major Collection of Chinese Painting in an American Museum," Ars Orientalis vol. 40 (2011), Loon Gu Sai was possibly Lunguzhai, a store in the antiques district of Liulichang.
This object exhibits seals, colophons, or inscriptions that could provide additional information regarding the object’s history; see Curatorial Remarks in the object record for further details.

[2] See note 1.

[3] The original deed of Charles Lang Freer's gift was signed in 1906. The collection was received in 1920 upon the completion of the Freer Gallery.

Previous Owner(s)

Loon Gu Sai (C.L. Freer source)
Charles Lang Freer 1854-1919


The wealthy poet, painter, and collector, Wang Shen (ca. 1048-1103), was married to a younger sister of Emperor Shenzong of the Northern Song dynasty (reigned 1068–85). To house his collection of ancient paintings and works of calligraphy, Wang built the Hall of Precious Paintings in 1077 on the grounds of his opulent private estate near the Northern Song capital, Bianliang (modern Kaifeng, Henan Province), and asked his friend, the famous poet Su Shi (1037-1101), with whom he shared a passion for collecting, to commemorate the hall in an essay. An excerpt from Su's text is inscribed on the painting at upper left. The central figure seated at the desk represents Su Shi, while Wang Shen is the figure looking on from the left.

This painting is a seventeenth-century copy of a composition attributed to Qiu Ying, whose spurious signature appears at lower right. The inscription at upper left was ostensibly written by his famous contemporary, the calligrapher Zhu Yunming (1461-1527), but the style of writing bears little resemblance to Zhu's known works. This scroll is one of a pair with F1909.156

Published References
  • Chiu Shih-Hua, Lin Li-Chiang. "偽好物─16至18世紀蘇州片及其影響." Fineries of Forgery: "Suzhou Fakes" and Their Influence in the 16th to 18th Century. Exh. cat. Taiwan, Republic of China. p. 376, fig. 10.
Collection Area(s)
Chinese Art
Web Resources
Google Cultural Institute
CC0 - Creative Commons (CC0 1.0)

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