Amorous Meeting in a Room Interior

Maker(s)
Artist: Formerly attributed to Zhou Wenju (傳)周文矩 (active mid-10th century)
Historical period(s)
Qing dynasty, late 18th century
Medium
Ink and color on silk
Dimensions
H x W (image): 198.5 x 130.6 cm (78 1/8 x 51 7/16 in)
Geography
China
Credit Line
Gift of Charles Lang Freer
Collection
Freer Gallery of Art
Accession Number
F1916.517
On View Location
Currently not on view
Classification(s)
Painting
Type

Hanging scroll (mounted on panel)

Keywords
China, citron, lovers, orchid, Qing dynasty (1644 - 1911), woman
Provenance

To 1916
You Xiaoxi, Shanghai, to 1916 [1]

From 1916 to 1919
Charles Lang Freer (1854-1919), purchased from You Xiaoxi, in New York in 1916 [2]

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

Notes:

[1] See Original Kakemono and Makimono List, L. 1116, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. See also, Seaouke Yue Catalogue, 1916, No. 54.

[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)

Charles Lang Freer 1854-1919
You Xiaoxi (C.L. Freer source) late 19th-early 20th century

Published References
  • Photogravure Section. Washington, July 29, 1934. .
  • Li Hui-lin. Chinese Flower Arrangement. Princeton, New Jersey. pl. 20.
  • Suzuki Kei. Chugoku kaiga sogo zuroku [Comprehensive Illustrated Catalog of Chinese Painting]. 5 vols., Tokyo, 1982-1983. vol. 1: p. 253.
  • Michel Beurdeley. L'amateur chinois des Han au XXe siecle. Aspects de l'art Fribourg. pl. 17.
  • Osvald Siren. Chinese Paintings in American Collections. Annales du Musee Guimet. Bibliotheque d'art. Nouvelle serie. II Paris and Brussels, 1927-1928. pl. 197.
  • You Xiaoxi, Hsiao-chi Yu in, Chi-Tseng Chang. "游筱溪." Masterpieces of Chinese National Art: The Collection of Mr. Seaouke'e Yue. Shanghai, 1916. no. 54.
  • Mary Augusta Nourse. The Four Hundred Million: A Short Story of the Chinese., 1st ed. Indianapolis and New York. Front.
  • William Cohn. Chinese Painting. London and New York. pl. 224.
  • Love in Asian Art & Culture. Washington, Seattle and London, 1998. pl. 14.
  • Wen C. Fong, Jerome Silbergeld. Bridges to Heaven: Essays on East Asian Art in honor of Professor Wen C. Fong. 2 volume set, Princeton. .
  • Section B. Washington, November 17, 1940. p. 6.
  • Arthur M. Sackler Gallery. Love in Asian Art and Culture. Washington DC, Seattle and London. pp. 25-28.
  • Tomita Kojiro. Eastern Art Annual, III. [a review]., February 1932. p. 31.
  • Robert J. Maeda. The Portrait of a Aoman of the Late Ming--Early Ch'ing period: Madame Ho-tung. vol. 27, 1973-1974. pp. 46-51, fig. 6.
  • Margaret F. Marcus. Chinese Flower Arrangement., October 1950. p. 52.
  • Michel Beurdeley. Chinese Erotic Art. Rutland, Vermont. p. 59.
  • Eleanor Treacy. Ming: Best Known Name in a Little Known Subject, Ming Stands for (1) Superb Ceramics and (2) Dangerous Paintings. Herewith a Ming Handbook. vol. 4, no. 1 New York, July 1931. p. 73.
  • Agnes E. Meyer. The Charles L. Freer Collection. vol. 12, no. 2 Brooklyn, August 1927. p. 79.
  • China: 3,000 Years of Art and Literature. New York. p. 83.
  • Charles Patrick Fitzgerald. The Horizon History of China. New York. p. 105.
  • Julia S. Berrall. A History of Flower Arrangement. London and New York. p. 109.
  • Benjamin March. Linear perspective in Chinese painting. vol. 3 Philadelphia. pp. 112-139, pl. 72.
  • Simon Kwan, Lu Xinyuan, Christina Chu. Brush and Clay: Chinese Porcelain of the Early Twentieth Century. Exh. cat. Hong Kong. p. 123.
  • Jonathan Spence. The Search for Modern China. New York. pp. 132-133.
  • James Cahill. Pictures for Use and Pleasure: Vernacular Painting in High Qing China. Berkeley and Los Angeles. pp. 150-151, fig. 5.1.
  • Lee-fu Woo. Imagination in Chinese Art. vol. 40, Nov.-Dec. 1940. p. 640.
Collection Area(s)
Chinese Art
Web Resources
Google Cultural Institute
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