Selections
Hsüan-tsung (685-762), T'ang Dynasty
This is the only surviving work of calligraphy by the T'ang dynasty emperor Hsüan-tsung (r. 712-756). It was mounted in the late Hsüan-ho reign (1119-1125) of Emperor Hui-tsung in the Sung dynasty using the horizontal mounting format of the inner court collection known as the "Hsüan-ho mounting." One of the most obvious features of this format is that it follows a set pattern. Around the sides of the work are impressions of such seals as "Yü-shu 御書" (gourd-shaped), "Shuang-lung 雙龍" (square), "Shuang-lung 雙龍" (round), "Hsüan-ho 宣龢" (connected bead), "Cheng-ho 政和," "Hsüan-ho 宣和," and "Cheng-ho 政龢" (connected bead). Together they form the "Seven seals of Hsüan-ho." The endpiece would include another seal impression for "Nei-fu t'u-shu chih yin," which means "Seal of the Inner Court Library." In front of the artwork would be a title calligraphed by Hui-tsung (1082-1135) in his distinctive "slender gold script.
This work, however, does not include Hui-tsung's title or the round "Shuang-lung" seal impression of two dragons, while only half appear for "Hsüan-ho" (宣龢) and "Yü-shu," indicating they were probably cropped during a later remounting. On the other hand, some scholars consider this as evidence that it might not be an original work by Hsüan-tsung.
Handscroll, ink on paperArtwork: 24.5 x 184.9 cm / mounting height: 25.3 cm
Chao Kan (fl. 10th c.), Five Dynasties Period
Chao Kan's "Early Snow on the River" is an early masterpiece of handscroll painting in the Museum collection. The box used to store this scroll was made in the imperial workshops of the Ch'ing dynasty under the Ch'ien-lung Emperor (r. 1736-1795). Consisting of red sandalwood, it is solid and heavy, the exterior carved with a cloud-and-dragon pattern of great precision, refinement, and classical elegance. Most of the original boxes used to store handscrolls in the Museum collection are undecorated, with only the box cover and side engraved with the name of the work. Thus, such a delicately carved work as this is relatively rare.
Since "Early Snow on the River" is a "restricted" masterpiece of the collection, only the wooden box and cloth are being placed on display to show how much effort was put into the wrapping and packaging of painting and calligraphy in the past.
Handscroll paintingWood box: 30.3 x 8.85 x 8.45 cm (painting height: 25.9 cm) / wrapping cloth: 52.2 x 52.2 cm
Ma Yüan (fl. 1190-1224), Sung Dynasty
In the lower right corner of this painting are two seals of the collector Liang Ch'ing-piao (1620-1691). In addition, his signature on the title slip for the scroll reads, "Remounted by Chiao-lin (Liang Ch'ing-piao)." Such textual evidence would indicate that the painting was in the early Ch'ing dynasty collection of Liang and that he had it remounted at that time. Afterwards, it entered the Ch'ing court and became part of the imperial collection.
Unrolling and rolling this scroll numerous times in the past had resulted in serious cracking to the artwork. Consequently, the painting was remounted in 2000 and restored to its previous flatness while also retaining the original "Sung-style mounting."
Hanging scroll, ink and colors on silkArtwork: 115.9 x 52.4 cm / mounting: 211 x 53.2 cm
Rubbings after assorted artists, Ming Dynasty (1368-1644)
Calligraphy engraved as copies on slabs of stone or blocks of wood for both study and appreciation, including the rubbings made from them, are known as "modelbooks." The "Ch'un-hua Founding Modelbooks" were originally carved back in 992, the third year of the Ch'un-hua reign in the Sung dynasty. They are often praised as the "founder" of the engraved modelbook tradition, hence the name. This is a Ming dynasty re-carving done in ten scrolls remounted as ten albums. Belonging to the "sutra-fold" (accordion) mounting format, the front and back covers are made of wood.
The sutra-fold format, as the name suggests, was originally used for the mounting of Buddhist scriptures, known as sutras, which is why it is also known as "India binding." Further called a "concertina binding," it was later often used for mounting leaves of calligraphy, its greatest advantage being that an entire album could be opened for view at a single time, like a long, continuous handscroll (only with folds). This is of great convenience for the uninterrupted appreciation of a work of calligraphy.
Album leaf, ink rubbing on paperArtwork: 26.4 x 31 cm / mounting: 26.5 x 77 cm
Shih-t'ao (1642-1708), Ch'ing Dynasty
A work of "continuous scenery" spans several hanging scrolls to compose a larger, panoramic view. In the mounting process, the beginning and end scrolls have slightly wider border mounting silk that are known as "ears." The scrolls in between have only very thin side mounting, allowing the contents to be appreciated without interruption. Since the multiple nature of "continuous scenery" scrolls is similar to that of a folding screen, another conventional term for this format is "continuous scenery screen."
This work donated by Mr. Chang Ch'ün to the National Palace Museum is composed of a total of twelve hanging scrolls and belongs to the monochrome color type of mounting. In order to bring the scrolls as close together as possible, the ends have not been fixed with roller knobs. When rolled up, these scrolls are stored in two paulonia wood boxes, as seen in the accompanying illustration.
Hanging scrolls (12), ink on paperArtwork: 195 x 49 cm / mounting: 232.8 x 52.8 cm
Anonymous, Ch'ing Dynasty (1644-1911)
The cover of this album, done in silk tapestry, depicts a riverbank scene, where peach trees of immortality are in fruit and spirit fungi, marigolds, and emerald bamboo grow. Standing in the middle is a pair of spotted deer having come to the water's edge for a drink. Skies above are filled with auspiciously colored clouds along with flying red and white bats as symbols of more good fortune. In fact, all of the imagery here reflects abundant good luck and auspiciousness, thus closely associated with title of the album.
Although many textile covers adorn albums in the Museum collection and are filled with beautiful and colorful abstract imagery, very few are decorated with concrete forms or scenery. This is one of the more representative and outstanding examples of such.
Album of paintingsFront and back cover: both 46 x 66.2 cm
Kao-tsung (r. 1736-1795) / Yao Wen-han (fl. 18th c.), Ch'ing Dynasty
This work of painting and calligraphy, in its original mounting as a folding fan, is done on gold-covered paper. The fan includes nine ribs, which meet at the end, or "tail," where they bulge as a round form inlaid in the center with ivory in what is commonly known as a "monk's head." The calligraphy is a seven-character regulated verse inscribed by Kao-tsung, the Ch'ien-lung Emperor (r. 1736-1795), while the painting is by the court artist Yao Wen-han on a narrative subject of figures. The painter cleverly divided the composition based on the position of the exposed ribs, creating eight individual scenes, with each separated by poetry inscribed by Yü Min-chung (1714-1779). Though the figures are small, the coloring is quite elegant as the figures appear in various activities. This mounting format, in fact, is quite rare among folding fans of painting and calligraphy in the Museum collection.
Artwork: 17.9 x 52.5 cmFan frame height: 34 cm