- Provenance
-
To 1763
Hongli, the Qianlong emperor (1711-1799; reigned 1735-96) [1]From 1763 to 1784
Peng Qifeng (1701-1784), Minister of War, given by the Qianlong emperor on February 18, 1763 [2]From 1784
Peng Shaosheng (1740-1796), by descent from his father, Peng Qifeng [3]Wu Yun (1811-1883) [4]
From at least 1909 to 1915
Pang Yuanji (1864-1949), Shanghai [5]From 1915 to 1961
Eugene Meyer (1875-1959) and Agnes E. Meyer (1887-1970), New York, NY, Washington, DC, and Mt. Kisco, NY, purchased through C. T. Loo & Co. from Pang Yuanji on May 15, 1915 [6]From 1961
Freer Gallery of Art, given by Agnes E. Meyer in December 1961 [7]Notes:
[1] Seven Qianlongโs seals and an inscription of the emperorโs poem are located on the painting, see โSong and Yuan Painting and Calligraphy,โ http://www.asia.si.edu/SongYuan/F1961.34/F1961-34.Documentation.pdf, accessed on May 23, 2012.
[2] Peng Qifeng, the high court official, received the handscroll as a gift from the Qianlong emperor at a banquet held on February 18, 1763. The circumstances of the gift were recorded in the colophon composed by Peng. After Pengโs death, his son, Peng Shaosheng, invited the famous calligrapher Wang Wenzhi (1730-1802) to inscribe the colophon on the scroll, which he did on May 6, 1786, see โSong and Yuan Painting and Calligraphy,โ cited in note 1.
[3] See note 2.
[4] Eighteen Wu Yunโs collector seals are located on the painting, see โSong and Yuan Painting and Calligraphy,โ cited in note 1.
[5] Pang Yuanjiโs collector seal is located on the painting. The painting is listed in the traditional Chinese catalogue of Pang Yuanjiโs collection, Xuzhai minghua lu (Shanghai: Shangyouxuan, 1909), 2:32a-36a as well as in the bilingual catalogue prepared by Pang on the occasion of the Panama-Pacific International Exposition in San Francisco, see Pang Lai Chโen [Pang Yuanji], Biographies of Famous Chinese Paintings: From the Private Collections of L.C. Pang, Che-kiang, China (Shanghai: Mercantile Printing Co., 1915), p. 76-77.
[6] The handscroll was among the paintings brought by Pang Yuanji, with the assistance of his cousin Pang Zanchen and the dealer C. T. Loo, to the United States on the occasion of the Panama-Pacific International Exposition in San Francisco in 1915, see Pang Lai Chโen [Pang Yuanji] 1915, p. 76-77. The Meyers examined the painting in New York prior to its transfer to San Francisco in March and April 1915, see Eugene Meyerโs telegram to Charles L. Freer, April 30, 1915, Eugene Meyer Papers, Library of Congress, copy in object file. The purchase of the scroll was confirmed by an invoice issued by C. T. Loo & Co. to Eugene Meyer on May 15, 1915.
[7] See Agnes Meyerโs Deed of Gift, dated December 21, 1961, copy in object file.
- Previous Owner(s) and Custodian(s)
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Peng Qifeng 1701-1784
Hongli, the Qianlong emperor 1711-1799, reigned 1735-1796
Peng Shaosheng
Wu Yun 1811-1883
Pang Yuanji 1864-1949
Eugene and Agnes E. Meyer (1875-1959) and (1887-1970)
- Description
-
Landscape of fir-pines in wind and snow, with the artist's inscription and Emperor Qianlong's inscription. Six (6) colophons on five sheets of paper, plus one sheet with three (3) collector seals only. Sixty-five (65) collector seals in total.
- Inscription(s)
-
Fastening Pin:
1. ไนพ้ๅพก่ฉ ๏ผๆๅฑฑใ้ขจ้ชๆๆพๅใ
Wind and Snow in the Fir-pines, by Li Shan; [with] poem by His Majesty Qianlong.Outside Label:
2. ้ๆๅฑฑใ้ขจ้ชๆๆพๅใใ่พไธ็ฅ็ซๆ๏ผ่ฅฟ่ กใ
Wind and Snow in the Fir-pines, by Li Shan of the Jin dynasty. [Inscribed] in the month of sacrificing to the god of the hearth [the twelfth lunar month] in the xinchou year [January 10โFebruary 7, 1902], Xili [Fei Nianci].Inside Label:
3. ๆๅฑฑใ้ขจ้ชๆๆพๅใ
Wind and Snow in the Fir-pines, by Li ShanArtist Inscription:
4. ๅนณ้ฝๆๅฑฑ่ฃฝ
Made by Li Shan of Pingyang.Other Inscription:
5. ๅๅณฐๅฆ็ก็็บ็ด๏ผ่ฝ่ฝๅญฅ็ฉบๆฌ่ฒ็๏ผ่ ๅฑๆๆธๅฏไธ่ผ๏ผๆฏไบบๆๆฏๅๆพไบบใ
ไนพ้ๅพก้กใ
[Poem not translated]. Inscribed by the Qianlong emperor.Colophons:
6. ็น้ขๅๅ่ฌ่ฌๅณฐ๏ผๆปฟๅคฉ้ขจ้ชๆๆๆพ๏ผๅฐๅฃ็ซๆ้ปๆ็ก๏ผๆดๆไฝไบบไผผๆๆ ตใ
ๆญคๅๅฏฅ่ฉฉ๏ผ้ๆฌ่ฒไฝๅฑฑไบบ๏ผไธ่ฝไฝไนใ้ป่ฏ็้ธๆธใๆธๅพๅฎข่ณ๏ผๆฐ่ณๅณถ่ฉฉไนใๆช็ฅๅญฐๆฏใSurrounding the yardโa thousand, ten-thousand peaks,
Filling the sky, wind and snow smite the fir-pines.
Fire glows in the ground stove, at dusk I fall asleep,
Is there anyone else in the world so indolent as I?This is a poem by Canliao [11th century]. Only one with a natural inclination to live among mountains could have composed it. Inscribed by the True Recluse of Huanghua [Yellow Flower Mountain]. A visitor came after I had written this, who said that the poem is by Jia Dao [779โ849], but I do not know who is right.
7. ๆญค่ๅจๆณฐๅ้๏ผ็ถๅ ฅ็ดไบ็ฅๆธ็ฃใไบๅง่ญไน๏ผๆๅนดๅนพๅ ซๅ็ฃ๏ผ่็ฒพๅไธๅฐ่กฐใๆฏไบๅฑๅฃ้ๅไฝๅคงๆจน็ณ๏ผ้่็จไน๏ผไน่ชๆญๆฐ๏ผใไป่็ฃ๏ผๅง่งฃไฝ็ซ๏ผใใ้็็ฉๅไน ๏ผๅๅคซ่ณๅฐ๏ผๅ ถ่ๆธพๆๅฐฑ่๏ผๆทๆชๆ็่ญใไป่งๆญคใ้ขจ้ชๆๆพๅใ๏ผๅ ถ็ฒพ็ทปๅฆๆญคใ่ณๆนๅนด่ช่ฒ ๅ ถ่ฝ๏ผไบฆๆช็บ้๏ผ่ไธไฟ่ฑ่ฝ็ๆ็ฅไน่ ๏ผๆ ๅ ไบบ็ฟฐๆๆธๅไบบ่ฉฉไปฅๅ้กไน๏ผ่ๅฐ็ฝฎๆญค่ไบๅคไบบไนๅฐไนใ่ฆฝไนใไฝฟไบบๅขๆใไบใ็ธๅฏๅ ญๆๅปฟๆไบๆฅ๏ผ่ฌๆ ถ่ฌนๆธใ
During the Taihe reign period [1201โ09], this old fellow [Li Shan] was still serving as Director of the Palace Library, and though he was indeed nearly eighty when I first made his acquaintance, his energy had not diminished in the slightest. Whenever he felt happy about some mural he had painted of great trees and rocks, he would step back and squint at it, then sigh to himself saying, โNow that Iโm old, Iโm beginning to understand how to paint!โ Had he truly not built up his strength for a long time and attained such a level of proficiency, his harmonious achievement certainly would not be so easy to know. Now the skill and finesse one sees in Wind and Snow in the Fir-pines are like this. But while it is no fault for someone late in years to trust in his own ability, can anyone in the mundane world truly understand him? Therefore when my deceased father [Wang Tingyun, who was a member of ] the Hanlin Academy, wrote out the poem by some earlier person as an appraisal [of Liโs character], it must have been to place the old fellow on the same ground as the ancient masters. Reading at it, as they say, โmakes one feel more deeply.โ Twenty-second day in the sixth lunar-month of the guimao year [July 10, 1243], respectfully written by [Wang] Wanqing.
8. ๅณ้็งๆธ็ฃๆๅฑฑ็ซใ้ขจ้ชๆๆพๅใ๏ผ่้ป่ฏ่ไบบ็ๅบญ็ญ ้กๅๅฏฅ่ฉฉๆผๅพใไบๅ็ๅฎๅๅฎถๅญ๏ผ็บๅฎ้กๆฐ็ฆ่ฟๆ่ฒใไฝๅถๅพไบ็ตๅฅ๏ผ้กๅ ถๅพไบ๏ผใๆฒๅฐๆผซๅคฉๅๆชไผ๏ผๆพๆๅๅฐบ่ฟฅๅ ชๆ๏ผไธน้ไธไฝ็ๅญซ่๏ผ่ๅๆๅคฉๅ ฑ็ฝ้ ญใใๅ๏ผใๆ่ฒ่ฅๆจๆ ็ขง่๏ผๅๅณฐ็ค่ๆผธๅ่ธ๏ผไฝ็ถ้ท็ฝๅฑฑ้ ญๆจน๏ผๅฐไบๆๆ็ไธๅฆใใไปไบๅ่ๅจ๏ผไธๅ ๆณ้กใ็ถๆ็จ็ญ็ๆด๏ผๆธ ็ตๆ่ด๏ผๅบ่น้ๅค๏ผๅบญ็ญ ็ฟฉ็ฟฉ๏ผ้ๅ ฅๆตทๅฒณๅบตไธๆง๏ผ็ๅฏๅฏถไนใๆญคๅๅ ๅๅๆไธ่ๆฒ๏ผ็ถๆๆ่ช็จฑ้ป่ฏ่ไบบ๏ผๆฅตๅฏ็ฌใ่ทๅพๆ่ฌ่ฌๆ ถ่ ๏ผไป่ณ่ก็ๅณๅธ้ไธญ๏ผ้ๅฒ่ชคไฝใๆผๆ ถใ๏ผ็ถไปฅๆญค็บๆญฃใ้ๆ ถๆ่พฐๅคๅ ญๆ๏ผๅณ้ก็ไธ่ฒ่ฌน้กใ
At right is the picture Wind and Snow in the Fir-pines painted by Li Shan, Director of the Palace Library during the Jin dynasty. Following it Old Man Yellow Flower, Wang Tingyun, inscribed a poem by Canliao [see Colophon 1]. Both gentlemen were descendents of famous Song-dynasty families and were renowned courtiers close to the [imperial] Wanyan clan. I have casually composed two quatrains to inscribe at the end [of the scroll], as follows: [poems not translated].If the two gentlemen [Li and Wang] were here today, Iโd not be able to stop perspiring [from embarassment]. For Liโs brushwork is free and easy, exceptionally clear and fine, and goes outside the normal path, while [Wang] Tingyunโs [calligraphy] is smooth and elegant, and achieves the samadhi [full realization] of Haiyueโan [Mi Fu, 1051โ1107]. Both [works] can be treasured. The [latter] gentleman was barely in his forty-seventh year when he died, yet he always referred to himself as Old Man Yellow Flower, which is extremely funny. At the end of the [second] colophon, the person who calls himself Wanqing attained the rank of Bureau Director of the Right Office in the Branch Secretariat. The History of the Jin Dynasty mistakenly writes [his name as] Manqing, so one should use the [signature] here to correct [this error].Summer, sixth lunar-month of the wuchen year in the Longqing reign period [June 25โJuly 23, 1568], respectfully inscribed by Wang Shizhen of Wujun.
9. ๆญคๅทๅๅ่งไบ้้ต๏ผๆฏๅจๅคขๆณ๏ผไปๅพฉๅพๅ่ง๏ผไธๅๆฌฃๆ ฐใๆๅไบบ้ขๅๅฏถใ้กงๅญฃ็ใๅฐคๅญๆฑๅจๅใ่จไน่ ๏ผไบๅณฐๅฑฑไบบๆไผฏไปไนใ้ๆ ถๆ่พฐๅ ญๆๆขๆๅคงๆไธญ๏ผๆฌๅ ็พๅบๆญค๏ผ็ๅฅ่ณๅ๏ผ
I previously saw this scroll in Jinling [modern Nanjing], and it has remained in my dreams [ever since], so I am overcome with joy to have the opportunity now to see it again. My friends Qian Shubao [Qian Gu, 1508โafter 1578], Gu Jikuang [Gu Shengzhi, active late-16th century], and You Ziqiu [You Qiu, active ca. 1670โ1690], are seated here with me. The one recording this [event] is Wufeng shanren, Wen Boren. On the day after the full moon [sixteenth day] in the sixth lunar-month of the wuchen year in the Longqing reign period [July 10, 1568], during the period of Great Heat, [the brothers] Jingmei [Wang Shimao, 1536โ1588] and Yuanmei [Wang Shizhen, 1526โ1590] brought out this [painting for us to see]. It was truly a rare viewing experience!
10. ไนพ้ไบๅๅ ซๅนดๆฅๅญๅ ญๆฅ๏ผ็ๅธๅพก้่ฏๅฎฎ๏ผๅฌๅปท่ฃๅ ฑไบๅๅไบบ่ณๅฎด๏ผ่ฃๅ่ฑ่ๆฉ่็ใๆ้ ๏ผๅพก่ฃฝๅพ่ฉฉไบ็ซ ๏ผๆขๅฝ่ฃ็ญ่ณกๅ๏ผๅ็น้ ๅ งๅบ้่ๅไบบ็ซๅทๅไธใ่ฃๅ่ฑๅพใ้ขจ้ชๆๆพๅใ๏ผ้ ้ฆ็ฅๅใๅฎด็ขๆๆญธ้ธ่๏ผๅฑ้ฑๆฏๅ๏ผ็บ้ๆณฐๅ้็ฅๆธ็ฃๆๅฑฑ็ซ๏ผไฟ็ตนๆฌใๅกๅคงๅฐๆๆพๅไธๆจน๏ผ่ซธๅณฐๅฑคๅ๏ผ้ฑ้ฑๆๅฏๆฒ่ฒใ่ ๅฑ่ญ็ถ๏ผๆไบบๆๆกๅทๅทใๅ ๅ็พๆจน่ณ็ซ๏ผ็ดๆฆฆๅฌๆ้ขจ้ชไธญ๏ผไธๅฏๆๅฑ๏ผๅ ้ฐ่ข่ฏ๏ผๅ่ฅไฟฏ็ฟณๅ ถไธใ่้ๅปๅฎๆช้ ๏ผๅ ถๆจน็ณ็ดๆ๏ผ็ๅฎๅฎไบบๅฎถๆณใๅพๆ้ป่ฏ็้ธ็ๅบญ็ญ ๆธๅๅฏฅ่ฉฉ๏ผๆ็ไธ่ฒ่ท็จฑๅ ถ็ญๆณ็ดๅ ฅๆตทๅฒณไนๅฎคใ้ป่ฏไนๅญ่ฌๆ ถ็บ็บไน้ก๏ผ่ๅผๅทๅฑฑไบบ็จฟๅ่ฌๆๅฑฑๆญคๅทใ็จ็ญ็ๆด๏ผๅบ่น้ๅคใใ็ถๅๆญคๅ่ชๅฎ้กๆฐไปฅไพ๏ผ่พ็ๅ่ณขไธๆธ็พ่ผใไผ่ฎๅพก่ฃฝไธ่จ็ตๅฅ๏ผๆๆๆทฑ้ท๏ผ่ฑช็ซฏๆธพ่ซ๏ผๅ็ฅๆนๆบ๏ผๅฅๅ ท็ฝ้ใๆญคๅท่ถณไปฅไธๆฝ็ฃใๆ่ฃๅ่ฑๆผๅฎข๏ผๅฌๅฅๅฝๆขๅทฆ้ฝๅพกๅฒ๏ผๅคฉ็ซ ไธ่ณ๏ผๅ็ถๅไปฅๅพๅไน็ฏใ็ๆฅตๆๆท๏ผไฝฟๆจๆซไธๆ๏ผ่่ขซ้จ้ฒ๏ผๅ ็ตไฟๅ ถๅคฉ๏ผ่ๅ ๆผๆงๆคไนๆฃ๏ผ่ช ไธๅๅๅนธ็ใๅ ถ็ฑค็ขง็๏ผ็บไนๅปใไนพ้ๅพก่ฉ ๏ผๆๅฑฑใ้ขจ้ชๆๆพๅใใๅ ซๅๅไธๅญใๅ ถๅฐ็ซ ๏ผๆฐใ็ณๆธ ๅฏถ็ฌใใๆฐใไธๅธๅ ็ฒพ้็ฝใใๆฐใไนพ้ๅพก่ฆฝไนๅฏถใใๆฐใๅฎๅญๅญซใใๆฐใๅพไฝณ่ถฃใใๆฐใๅนพๆๆกๆ ใใๆฐใไนพ้้่ณใใๆฐใ็็ฅใใๆฐใๅญๅญซไฟไนใใ่ๆ๏ผใๅนณ้ฝใใใไนพๅคๆธ ่ณใใใๆๆ็ๆฐๅๆธไนๅฐใใใๆฑ่กจ้ป็ณใใใไผไผฏใใใๅฎๅๅจๅฎถ็่ใใใๆขๆธ ๆจๅฐใใใ่ๆ้ๅฎใใใ่ๆ็ฅ็ฉใใใ้ผๅ ใใใไปฒ้ ใใใ้กงไนๅพทใใใๅดๆพคใใใๅผต็พฝ้ใไนๅฐใๅ ถๅจๅพๆน่ ๏ผไธๅ ท้ใๅๆๆจ้กไธๅญ๏ผ็ถๆฏๆ็็ฉ็ปๆธใ่ณ้ฒๅฃซๅ็ฌฌใๅ ็ฅฟๅคงๅคซใ้ฝๅฏ[ๅทฆ]้ขๅทฆ้ฝๅพกๅฒใ็ดๅๆธๆฟ่ฃๅฝญๅ่ฑๆฌ่จใ
ๅพก่ณๅคงๅธ้ฆฌๅฝญๅ ฌ้ๆๅฑฑใ้ขจ้ชๆๆพๅใๅทใๅ ฌๆญ็ด้กๆซ๏ผๆชๅ่ชๆธใ้ ๅ ฌๅทฒไธไธ๏ผๅ ฌๅญ็ดนๅๅฑฌๅ็ฟฐๆไพ่ฎ็ๆๆฒป่ฃๆธใๆไนพ้ไบๅไธๅนดๅคๅญไนๆฅใ
On the sixth day of the first spring month in the twenty-eighth year of the Qianlong reign-period [February 18, 1763], the August Emperor rode to the Chonghua Palace and summoned court ministers, altogether twenty-four in number, to be given a banquet, and I your subject [Peng] Qifeng, received the Imperial Favor to be among them. After a while, His Majesty composed two stanzas of regulated verse and commanded His ministers and others [to create] matching poems, and He also made a special gift to each [of the twenty-four courtiers] of a scroll from the Imperial Household Collection painted by a famous artist. I your subject [Peng] Qifeng received Wind and Snow in the Fir-pines, bowing my head respectfully to accept [the scroll]. After the banquet, I took it back to my official residence and rolled out the picture to examine it. [The painting] was done on silk by Li Shan, the Director of the Palace Library during the Taihe reign period [1201โ09] of the Jin dynasty. There are a total of eleven fir-pines large and small, and ranges of peaks in serried ranks, unclear and indistinct with a cold and freezing look. The thatched hut is desolate and bare, and there is a person [inside] grasping the table and holding a scroll. In front of the hall, a stand of trees towers up, with straight trunks and lofty branches lifting into the snowy wind. They cannot be cowed or made to bend, and stay luxuriantly green [throughout the winter season] of the Primal Yin, seeming to lean over and shelter what lies below. As the Jin dynasty was not very long after the [Northern] Song, the texture strokes and use of [ink] wash on the trees and stones were influenced by the styles of Song-dynasty artists. Following [the painting] is a poem of Canliao [11th century] written out by the True Recluse of Yellow Flower [Mountain], Wang Tingyun. The colophon by Wang Shizhen of the Ming dynasty [see Colophon 3, above] praises his calligraphy [by stating that] his style of brushwork directly entered the chamber of Haiyue [Mi Fu, 1051โ1107]. Yellow Flowerโs son, [Wang] Wanqing, added a further inscription to [the scroll]. The manuscript by the Mountain Man of Yanzhou [Wang Shizhen] says that in this scroll Li Shanโs โbrushwork is free and easy, and goes outside the normal path.โ All this being so, then from the [imperial] Wanyan clan [of the Jin dynasty] on down, this picture has been relished by famous worthies for several hundred years. I humbly read the quatrain in seven-character lines composed by His Majesty, and its thought is profound and eternal. The brushwork is effortless and untrammeled, the round [strokes are done] with spirit and the square with intelligence, each one specially forged and tempered. This scroll is worthy indeed of immortality! During the winter, when I your subject [Peng] Qifeng was in residence [at court], I received the Imperial Command promoting me to Left Censor-in-Chief. The Celestial Certificate descended, sternly enjoining me to maintain the moral integrity [of the pine], which is the last to wither [in winter].
As the Dispensation of the August Throne caused [me], this inferior timber of ailanthus and chestnut oak, to receive [the benefits of] rain and dew and shall forever safeguard their days, averting all harm from axe and hatchet, I was truly overwhelmed by [the Emperorโs] Generosity and Kindness. He had the [scrollโs] fastening pin of green jade carved with eleven characters in clerical script [reading], โWind and Snow in the Fir-pines, by Li Shan; [with] a poem by His Majesty Qianlong.โ His seals [on the painting] read: Shiqu baoji, Sanxitang jingjian xi, Qianlong yulan zhi bao, Yi zisun, De jiaqu, Jixia yiqing, Qianlong jianshang, Zhenmi,13 and Zisun bao zhi. [The scroll also] has earlier [seals reading]: Pingyang, Qiankun qingshang, You Ming Wang shi tushu zhi yin, Jiangbiao Huang Lin, Xiubo, An Yizhou jiazhencang, Liang Qingbiao yin, Jiaolin jianding, Jiaolin miwan, Dingyuan,14Zhongya, Gu Jiude,15Yan Ze, and Zhang Yujun.16 I have not transcribed the collector seals on the [colophon] section behind [the painting]. The seven-character [text] on the inside label slip in front [of the painting] must have been written by Wang Zhideng [1535โ1612] of the Ming dynasty. Respectfully recorded by the Metropolitan Graduate with Honors, Grand Master for Splendid Happiness, and Left Censor-in-Chief of the Surveillance Bureau, on duty in the Southern Study, your subject Peng Qifeng.The scroll Wind and Snow in the Fir-pines, by Li Shan of the Jin dynasty, was bestowed by His Majesty on the Commander-in-chief, Lord Peng,17 who respectfully recorded [the event] from beginning to end, but did not get around to writing it [on the scroll] himself. As the Lord recently passed away, his son [Peng] Shaosheng [1740โ1796] instructed me, the former Reader-in-waiting in the Hanlin Academy, Wang Wenzhi, to add his text [to the scroll]. It is the ninth day in the fourth lunar-month of the fifty-first year in the Qianlong reign period [May 6, 1786].
- Marking(s)
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Zhijun ใ็ดๅใ (square intaglio) - outside label
Faxi dacang ใๆณๅๅคง่ใ (rectangle relief) - frontispiece
Pingyang ใๅนณ้ฝใ (rectangle intaglio) - artist inscription
De jiaqu ใๅพไฝณ่ถฃใ (square intaglio)
Jixia yiqing ใๅนพๆๆกๆ ใ (square intaglio) - other inscriptionillegible (square intaglio) - colophon 2
Wang Yuanmei yin ใ็ๅ ็พๅฐใ (square intaglio)
Tiantao jushi ใๅคฉๅผขๅฑ ๅฃซใ (square intaglio) - colophon 3Zhi ใๆฒปใ (square relief/intaglio)
- colophon 5Jiangbiao Huang Lin ใๆฑ่กจ้ป็ณใ (square relief) โ painting, lower right
Xiubo ใไผไผฏใ (square relief) โ painting, lower right
Lin yin ใ็ณๅฐใ (rectangle intaglio) โ colophon 1, leftGu Congde ใ้กงๅพๅพทใ (linked square intaglio/relief) โ painting, lower right
Ruxiu ใๆฑ่ฉใ (square intaglio) โ colophon 1, mid-right
Gu shi Yunge zhencang ใ้กงๆฐ่ธ้ฃ็่ใ (rectangle relief) โ colophon 1, mid-rightZhenyuan ใ่ฒๅ ใ (linked square relief) โ painting/mountingsilk 2 join, top
Zhongya ใไปฒ้ ใ (square relief) โ painting/mounting silk 2 join, bottom
Qiankun qingshang ใไนพๅคๆธ ่ณใ (square intaglio) โ painting, top left
You Ming Wang shi tushu zhi yin ใๆๆ็ๆฐๅๆธไนๅฐใ (square intaglio) โ painting, top left
Fuzhi Xunyang dengchu guanfang ใๆซๆฒปๅ้ฝ็ญ่้้ฒใ (rectangle relief) โ colophon paper 6, upper rightYan Ze zhi yin ใๅดๆพคไนๅฐใ (square intaglio/relief) โ painting/mounting silk 3 join, bottom
Shengguo wenxian ใๅๅๆ็ปใ (square intaglio) โ between colophons 1 and 2, bottom
Yiโan tushu ใๆ่ดๅๆธใ (square intaglio) โ between colophons 1 and 2, bottomZhang Zezhi ใๅผตๅไนใ (rectangle relief) โ colophon 1, middle bottom โ (1/2)
Zhang Zezhi ใๅผตๅไนใ (rectangle relief) โ colophon 4, left โ (2/2)Zhang Liu ใๅผต้ใ (square intaglio) โ painting, lower left corner โ (1/2)
Zhang Liu ใๅผต้ใ (square intaglio) โ colophon 1, lower left โ (2/2)Liang Qingbiao yin ใๆขๆธ ๆจๅฐใ (square intaglio) โ mounting silk 2
Jiaolin jianding ใ่ๆ้ๅฎใ (square intaglio) โ mounting silk 2
Cangyan ใ่ผๅทใ (square relief) โ painting/mounting silk 3 join, top
Jiaolin miwan ใ่ๆ็ฅ็ฉใ (square relief) โ mounting silk 2/colophon 1 join, bottom
Hebei Tangcun ใๆฒณๅๆฃ ๆใ (square relief) โ colophon 1/colophon 2 join, top
Yeqi yuyin ใๅถๆบชๆผ้ฑใ (rectangle relief) โ colophon 2, left paper strip/colophon 3 join, middle
Tangcun ใๆฃ ๆใ (square relief) โ colophon 3/colophon 4 join, middle
Cangyanzi ใ่ผๅทๅญใ (circle relief) โ colophon 4, left
Guan qi dalue ใ่งๅ ถๅคง็ฅใ (square intaglio) โ colophon 4, leftAn Yizhou jiazhencang ใๅฎๅๅจๅฎถ็่ใ (rectangle relief) โ painting, right
Zhenmi ใ็็ฅใ (square relief) โ mounting, left of painting
Zisun bao zhi ใๅญๅญซไฟไนใ (diamond intaglio) โ mounting, left of painting
Anshi Yizhou shuhua zhi zhang ใๅฎๆฐๅๅจๆธ็ซไน็ซ ใ (rectangle intaglio) โ colophon 2, left
Chaoxian ren ใๆ้ฎฎไบบใ (rectangle intaglio) โ colophon 5, left
An Qi zhi yin ใๅฎๅฒไนๅฐใ (square intaglio) โ colophon 5, leftQianlong yulan zhi bao ใไนพ้ๅพก่ฆฝไนๅฏถใ (oval relief) โ painting, upper right
Sanxitang jingjian xi ใไธๅธๅ ็ฒพ้็ฝใ (rectangle relief) โ painting, upper right
Shiqu baoji ใ็ณๆธ ๅฏถ็ฌใ (square relief) โ painting, upper right
Yi zisun ใๅฎๅญๅญซใ (square intaglio) โ painting, upper right
Qianlong jianshang ใไนพ้้่ณใ (circle intaglio) โ painting, upper leftBaoleizi ใๆฑ็ฝๅญใ (square relief) โ mounting silk 1/frontispiece join, top โ (1/6)
Wu Pingzhai ใๅณๅนณ้ฝใ (square relief-intaglio) โ mounting silk 1/frontispiece join, bottom โ (1/6)
Baoleizi ใๆฑ็ฝๅญใ (square relief) โ frontispiece/mounting silk 2/inside label join, top โ (2/6)
Wu Pingzhai ใๅณๅนณ้ฝใ (square relief-intaglio) โ frontispiece/mounting silk 2 join, bottom โ (2/6)
Wu Yun Pingzhai changshou ใๅณ้ฒๅนณ้ฝ้ทๅฃฝใ (square intaglio) โ mounting silk 2, middle
Wu Yun siyin ใๅณ้ฒ็งๅฐใ (square intaglio) โ mounting silk 2/painting join, bottom
Wu Pingzhai shending mingxian zhenji ใๅณๅนณ้ฝๅฏฉๅฎๅ่ณข็่ทกใ (square relief) โ painting, lower left
Erbai lanting zhai ใไบ็พ่ญไบญ้ฝใ (rectangle relief) โ painting/mounting silk 3 join, bottom
Guiโan Wu Yun ใๆญธๅฎๅณ้ฒใ (square intaglio) โ mounting silk 3/colophon 1 join, middle
Baoleizi ใๆฑ็ฝๅญใ (square relief) โ colophon 1/colophon 2 join, middle โ (3/6)
Wu Pingzhai ใๅณๅนณ้ฝใ (square relief-intaglio) โ colophon 1/colophon 2 join, bottom โ (3/6)
Baoleizi ใๆฑ็ฝๅญใ (square relief) โ colophon 2, left paper strip/colophon 3 join, top โ (4/6)
Wu Pingzhai ใๅณๅนณ้ฝใ (square relief-intaglio) โ colophon 2, left paper strip/colophon 3 join, bottom โ (4/6)
Baoleizi ใๆฑ็ฝๅญใ (square relief) โ colophon 3/colophon 4 join, top โ (5/6)
Wu Pingzhai ใๅณๅนณ้ฝใ (square relief-intaglio) โ colophon 3/colophon 4 join, bottom โ (5/6)
Baoleizi ใๆฑ็ฝๅญใ (square relief) โ colophon paper 5/colophon paper 6 join, top โ (6/6)
Wu Pingzhai ใๅณๅนณ้ฝใ (square relief-intaglio) โ colophon paper 5/colophon paper 6 join, bottom โ (6/6)
Wu Yun Pingzhai ใๅณ้ฒๅนณ้ฝใ (square intaglio, with animal motif) โ far left end of scrollZhiwan ใไน่ฌใ (square relief) โ painting, lower left โ (1/2)
Zhiwan ใไน่ฌใ (square relief) โ colophon 1/colophon 2 join, middle โ (2/2)Jingxian cengguan ใๆฏ่ณขๆพ่งใ (rectangle relief) โ mounting silk 3, lower right
Xuzhai shending mingji ใ่้ฝๅฏฉๅฎๅ่ทกใ (square relief) โ mounting silk 3, lower left
Fuโan ใๅค่ดใ (square relief) โ colophon 1, left, over last character
Chaoranshi ใ่ถ ็ถๅฎคใ (square relief) โ colophon 1/colophon 2 join, bottom
Chibao zhongjie zhi jia ใๆ่คๅฟ ็ฏไนๅฎถใ (square relief) โ colophon 2, lower left
Gaoyang X-shi ใ้ซ้ฝโกๆฐใ (square relief) โ colophon 2, left paper strip, middle
Yuansou yanfu ใ่ฏๅ็ผ็ฆใ (square relief) โ colophon 3/colophon 4 join, bottom
- Label
-
On a cold winter's day, in a secluded thatched-roof cottage surrounded by bamboo and nestled in a grove of tall pine trees, a lone scholar-recluse warms himself at an earthen fire pit. Blunt, angular brush strokes define the pine needles and rough bark of the trees, behind which a landscape of jutting snow-covered peaks stretches into the distance.
The Chinese artist Li Shan was the foremost landscape painter under the Jin dynasty (1115-1234), which was founded by conquest when Jurchen tribes from Manchuria occupied northern China. Few authentic paintings produced during the Jin dynasty have survived, and this exquisite handscroll--entirely Chinese in form and inspiration--is the only genuine work by Li Shan among the several extant paintings sometimes attributed to him. His sharp definition of objects in the foreground and use of rich ink washes in the background mark him as a follower of the Li Cheng (919-967) and Guo Xi (ca. 1001-ca. 1090) style of landscape painting.
To learn more about this and similar objects, visit http://www.asia.si.edu/SongYuan/default.asp Song and Yuan Dynasty Painting and Calligraphy.
- Published References
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- Lin-ts'an Li. A Study of Dots in Chinese Landscape Painting. vol. 9 Taipei, November-December 1974. pl. 3.
- William Watson. The Art of Dynastic China. New York, 1981. cat. 462.
- Suzuki Kei. Chugoku kaiga sogo zuroku [Comprehensive Illustrated Catalog of Chinese Painting]. 5 vols., Tokyo, 1982-1983. vol. 1: pp. 218-219.
- Suzuki Kei. Chugoku kaiga shi. 8 vols., Tokyo, 1981-1988. cat. 138, vol. 1: p. 134, vol. 1, pt. 2.
- Osvald Siren. Chinese Painting: Leading Masters and Principles. 7 vols., New York and London, 1956-1958. vol. 2: pp. 62, 130.
- Keiko Kawamoto. Nihon byobue shusei. 18 vols., Tokyo, 1977-1982. vol. 6: p. 141.
- Angela Li Lin. Notes on "Wind and Snow in Firpines" by Li Shan of the Chin Dynasty. vol. 15, nos.2,3 Taipei. pls. 9,10,20,100.
- ku-kung chi k'an. vol. 14, no. 2. pl. 1.
- Chung-kuo shu hua [Chinese Painting]. Taipei. vol. 2: p. 30.
- Song Dynasty Paintings Project. multi-volumed, . .
- Mary Ellen Hayward. The Influence of the Classical Oriental Tradition. vol. 14, no. 2 Chicago, Summer 1979. fig. 7.
- Dr. John Alexander Pope, Thomas Lawton, Harold P. Stern. The Freer Gallery of Art. 2 vols., Washington and Tokyo, 1971-1972. cat. 44, vol. 1: p. 159.
- James Cahill. The Art of Southern Sung China. New York. pp. 26-27, pl. 5.
- Thomas Lawton. Eugene and Agnes E. Meyer Memorial Exhibition. Exh. cat. Washington, 1971. cat. 20, pp. 40-41.
- Masterpieces of Chinese and Japanese Art: Freer Gallery of Art handbook. Washington, 1976. p. 48.
- Steven D. Owyoung. The Huang Lin Collection. vol. XXXV New York and Honolulu, HI. p. 59, fig. 4.
- Linda Cook Johnson. The Art of the Jurchen Revival: A Court Movement in Chin Dynasty. San Jose, CA. p. 77.
- Susan Bush. Literati Culture Under the Chin (1122-1234). vol. 15, no. 2, Summer 1969. pp. 103-112, pl. 3.
- Arthur Mu-sen Kao. The Life and Art of Li K'an. Ann Arbor. pp.129,145-6,187.
- Susan Bush. Clearing After Snow in the Min Mountains and Chin Landcape Painting. vol. 11, no. 3 London, September 1965. p. 166, fig. 5.
- Thomas Lawton. Notes on Five Paintings from a Ch'ing Dynasty Collection. vol. 8 Washington and Ann Arbor. pp. 192-210, fig. 3.
- et al. Chinese Calligraphy. The Culture and Civilization of China New Haven and Beijing. p. 283, pl. 5.41.
- Collection Area(s)
- Chinese Art
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