Pang Yuanji (1864-1949), Shanghai, China, to 1916 
From 1916 to 1919
Charles Lang Freer (1854-1919), purchased from Pang Yuanji, in New York, in 1916 
Freer Gallery of Art, gift of Charles Lang Freer in 1920 
 See Original Kakemono and Makimono List, L. 1136, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. See also, P'ang Catalogue: Antique Famous Chinese Paintings Collected by P'ang Lai Ch'en, vol. 1, no. 50. 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.
 See Original Kakemono and Makimono List, L. 1119, Freer Gallery of Art and Arthur M. Sackler Gallery Archives.
 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)
Charles Lang Freer 1854-1919
Pang Yuanji (C.L. Freer source) 1864-1949
Set among a few scattered stems of snow-dusted bamboo, a large flowering plum tree is the main focus of this painting. The plum generally blooms around the Chinese lunar new year in mid- to late January, when most other vegetation lies dormant. All at once, blossoms sprout from supple shoots along the dark, leafless branches, signaling the imminent arrival of spring. Though its delicate flowers survive only briefly in the harshness of winter, the tree may live for many years, its limbs and trunk slowly growing into oddly configured gnarls and angles.
In Chinese tradition, plum blossoms came to symbolize purity of character, courage in the face of adversity, the transience of beauty, and the rebirth of hope. From early times, poets in China played off these various associations and the blossoming plum gradually evolved into a favorite metaphor for the impoverished scholar and recluse from society. In times of turbulence and uncertainty, it was also used as an emblem of the nation as a whole.
A spurious signature of the thirteenth-century court painter Ma Lin has been added on the lower trunk of the plum tree, while the inscription in the upper right corner, ostensibly by the late-Ming calligrapher Wang Duo (1592-1652), is also a forgery. This is most likely a work by a sixteenth-century painter associated with the Ming dynasty court.
- Published References
- Pang Yuanji. Tang Wu dai Song Yuan ming hua: Wuxing Pang shi cang [Antique Famous Chinese Paintings: Collected by P'ang Lai Ch'en]. Shanghai. pl. 50.
- Collection Area(s)
- Chinese Art
- Web Resources
- Google Cultural Institute
- CC0 - Creative Commons (CC0 1.0)
CC0 - Creative Commons (CC0 1.0)
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