‧Dragon Boat Race by the Baojin Hall
Wang Zhenpeng (ca. 1280-1329), Yuan dynasty
Handscroll, ink on silk, 36.6 x 183.4 cm
Wang Zhenpeng (ca. 1280-1329), Yuan dynasty
Handscroll, ink on silk, 36.6 x 183.4 cm
Wang Zhenpeng (style name Pengmei) was a native of Yongjia, Zhejiang, and given the sobriquet Guyun chushi by Emperor Renzong (Buyantu Khan; r. 1311-1320). He was Archivist in the Imperial Library and rose to Grain Transport Officer, but he was best known for his ruled-line painting.
This work depicts the Northern Song (960-1127) emperor at Jinming Pond in Kaifeng on the Qingming Festival, as recorded in Dream Journey to the Eastern Capital. It shows him watching the forces and merriments along with a dragon boat regatta. The inscription at the end indicates this work was done in 1310. Wang Zhenpeng used fine, complex lines to precisely delineate the palatial structures and boats of all sizes, also depicting raucous genre scenes of merriment, making this a masterpiece of Yuan dynasty ruled-line painting.
This work depicts the Northern Song (960-1127) emperor at Jinming Pond in Kaifeng on the Qingming Festival, as recorded in Dream Journey to the Eastern Capital. It shows him watching the forces and merriments along with a dragon boat regatta. The inscription at the end indicates this work was done in 1310. Wang Zhenpeng used fine, complex lines to precisely delineate the palatial structures and boats of all sizes, also depicting raucous genre scenes of merriment, making this a masterpiece of Yuan dynasty ruled-line painting.
‧Peddling in Spring Scenery
Anonymous, Yuan dynasty (1279-1368)
Hanging scroll, ink and colors on silk, 196.8 x 104.3 cm
Anonymous, Yuan dynasty (1279-1368)
Hanging scroll, ink and colors on silk, 196.8 x 104.3 cm
Peddler scenes became popular in Chinese art starting in the Song dynasty (960-1279). This work (with no seal or signature of the artist) depicts a countryside scene with peach blossoms just opening and willow branches of newly sprouted leaves as grasses flourish by a small stream. The peddler has rested the openwork display of goods with many kinds of caged birds and also toys.
Of the two peddlers, the one in front offers a parrot to the elegantly dressed lady with two children. With hand raised, the youngest child moves forwards with joy as if to ask for the bird. The figures’ coloring is beautifully elegant, and the details of their clothing and other motifs are refined. The spirited, lively figures accentuate this leisure scene from traditional China.
Of the two peddlers, the one in front offers a parrot to the elegantly dressed lady with two children. With hand raised, the youngest child moves forwards with joy as if to ask for the bird. The figures’ coloring is beautifully elegant, and the details of their clothing and other motifs are refined. The spirited, lively figures accentuate this leisure scene from traditional China.
‧Literary Gathering in the Western Garden
Attributed to Zhao Mengfu (1254-1322), Yuan dynasty
Hanging scroll, ink and colors on silk, 131.5 x 67 cm
Attributed to Zhao Mengfu (1254-1322), Yuan dynasty
Hanging scroll, ink and colors on silk, 131.5 x 67 cm
This subject is about a banquet gathering of the famed Northern Song scholars Su Shi, Huang Tingjian and eight others at imperial son-in-law Wang Shen’s garden home. The work shows them in five groups around Su Shi, Li Gonglin, and Mi Fu doing calligraphy, painting, and bowing to a stone, respectively. Chen Jingyuan is also playing the ruan and Liu Jin talking with Master Yuantong.
Many versions were done over the ages, and this and another in the National Palace Museum collection by Qiu Ying (ca. 1494-1552) come from the same prototype. The attached record at the top of this work bears a signature of Yu Ji, and the contents are in Yang Shiqi’s (1365-1444) Dongli Collection, Continued, but differing from the imagery here. Thus, although attributed to Zhao Mengfu, this work was probably by a Ming dynasty (1368-1644) artist instead.
Many versions were done over the ages, and this and another in the National Palace Museum collection by Qiu Ying (ca. 1494-1552) come from the same prototype. The attached record at the top of this work bears a signature of Yu Ji, and the contents are in Yang Shiqi’s (1365-1444) Dongli Collection, Continued, but differing from the imagery here. Thus, although attributed to Zhao Mengfu, this work was probably by a Ming dynasty (1368-1644) artist instead.
‧Listening to Zither Music
Anonymous, Yuan dynasty (1279-1368)
Hanging scroll, ink on silk, 124 x 58.1 cm
Anonymous, Yuan dynasty (1279-1368)
Hanging scroll, ink on silk, 124 x 58.1 cm
This baimiao (ink outline) painting shows scholars in the shade of paulonia by a stream. One is on a daybed playing a zither as the other three sit listening. Four attendants prepare incense, grind tea, and heat wine. The scenery also features a decorative rock, bamboo, and an ornamental bamboo railing.
The composition here is similar to the National Palace Museum’s “Eighteen Scholars” attributed to an anonymous Song (960-1279) artist, but this one more closely reflects an upper-class courtyard home. In the middle is a painted screen with a daybed in front and a long table with two backed chairs on either side. In front are an incense stand and a long table with incense and tea vessels in a refined, meticulous arrangement. The furniture types suggest a late Ming dynasty (1368-1644) date.
The composition here is similar to the National Palace Museum’s “Eighteen Scholars” attributed to an anonymous Song (960-1279) artist, but this one more closely reflects an upper-class courtyard home. In the middle is a painted screen with a daybed in front and a long table with two backed chairs on either side. In front are an incense stand and a long table with incense and tea vessels in a refined, meticulous arrangement. The furniture types suggest a late Ming dynasty (1368-1644) date.
‧Ning Qi Feeding an Ox
Zhou Chen (ca. 1460-after 1535), Ming dynasty
Hanging scroll, ink on paper, 126.7 x 68.9 cm
Zhou Chen (ca. 1460-after 1535), Ming dynasty
Hanging scroll, ink on paper, 126.7 x 68.9 cm
Zhou Chen (style name Shunqing, sobriquet Dongcun) was native to what is now Suzhou, Jiangsu. He specialized in landscapes and figures, achieving the brush method of earlier Song dynasty painters. Whether in the fine-line or sketching-ideas styles, all have a character of their own.
Ning Qi, a native of Wei in the Spring and Autumn period (second half of the 8th c.-first half of the 5th c. BCE), pulled a cart to make a living due to the poverty of his family. In the state of Qi, he one day came across Duke Huan, who was on an inspection tour. Ning Qi was feeding his ox and tapping its horns as he sang. The duke felt this was no ordinary man and summoned him, later making him Counselor-in-chief. The work here shows Ning Qi holding a stick as he feeds the ox. The brushwork is strong and sharp, the vines on the old tree unusually dynamic like the horns of a dragon.
Ning Qi, a native of Wei in the Spring and Autumn period (second half of the 8th c.-first half of the 5th c. BCE), pulled a cart to make a living due to the poverty of his family. In the state of Qi, he one day came across Duke Huan, who was on an inspection tour. Ning Qi was feeding his ox and tapping its horns as he sang. The duke felt this was no ordinary man and summoned him, later making him Counselor-in-chief. The work here shows Ning Qi holding a stick as he feeds the ox. The brushwork is strong and sharp, the vines on the old tree unusually dynamic like the horns of a dragon.
‧Imitating a Lady Painting by a Tang Artist
Tang Yin (1470-1523), Ming dynasty
Hanging scroll, ink and colors on paper, 149.3 x 65.9 cm
Tang Yin (1470-1523), Ming dynasty
Hanging scroll, ink and colors on paper, 149.3 x 65.9 cm
Tang Yin (style name Bohu), a native of Wuxian (modern Suzhou, Jiangsu), came in first place at the Nanjing provincial examinations in 1498. His early style was influenced by the Ming painters Du Jin and Zhou Chen, but later he studied the styles of many earlier Song and Yuan masters to form his own manner, leading him to be venerated as one of the Four Ming Masters.
The subject of this lady painting comes from the story of the courtesan Li Duanduan seeking a lyric from the poet Zhang You (?-ca. 853). In it, Li Duanduan is shown holding a white peony blossom and standing upright by a screen. Zhang You sits on a daybed and concentrates, as if composing the line that made Li famous, “…a peony blossom able to walk along.” The line and image here thus seem to match flawlessly.
The subject of this lady painting comes from the story of the courtesan Li Duanduan seeking a lyric from the poet Zhang You (?-ca. 853). In it, Li Duanduan is shown holding a white peony blossom and standing upright by a screen. Zhang You sits on a daybed and concentrates, as if composing the line that made Li famous, “…a peony blossom able to walk along.” The line and image here thus seem to match flawlessly.
‧Orthodoxy of Rulers Through the Ages
Qiu Ying (ca. 1494-1552), Ming dynasty
Album leaf, ink and colors on silk, 32.5 x 32.6 cm
Qiu Ying (ca. 1494-1552), Ming dynasty
Album leaf, ink and colors on silk, 32.5 x 32.6 cm
Qiu Ying (style name Shifu, sobriquet Shizhou) was a native of Taicang (modern Suzhou, Jiangsu). A lacquer craftsman early in his career, he also specialized in architectural decoration. Later he turned to painting, becoming venerated as one of the Four Ming Masters.
This album of twenty leaves depicts the events of famous rulers and sages from the legendary Fuxi (mid-2800s BCE?) to Emperor Renzong of the Song (1010-1063), and opposing leaves include inscriptions by Gu Kexue (?-1560). Qiu Ying was probably asked by Gu to illustrate his texts, and the work was then probably submitted to the court in Gu’s quest for promotion. The brushwork is mature and swift, with hues mostly bright blue and green to which gold outlining was added. The fresh and vibrant surfaces create for a sumptuous atmosphere.
This album of twenty leaves depicts the events of famous rulers and sages from the legendary Fuxi (mid-2800s BCE?) to Emperor Renzong of the Song (1010-1063), and opposing leaves include inscriptions by Gu Kexue (?-1560). Qiu Ying was probably asked by Gu to illustrate his texts, and the work was then probably submitted to the court in Gu’s quest for promotion. The brushwork is mature and swift, with hues mostly bright blue and green to which gold outlining was added. The fresh and vibrant surfaces create for a sumptuous atmosphere.
‧Zhong Kui in a Wintry Forest
Attributed to Li Shida (16th-17th c.), Ming dynasty
Hanging scroll, ink and colors on silk, 104.9 x 57.5 cm
Attributed to Li Shida (16th-17th c.), Ming dynasty
Hanging scroll, ink and colors on silk, 104.9 x 57.5 cm
A native of what is now Suzhou, Jiangsu, Li Shida (sobriquet Yanghuai) excelled at figures and landscapes, theorizing on the “Five Merits” and “Five Faults,” and being highly esteemed.
This work shows the demon-queller Zhong Kui wearing a wicker hat and riding an ox attended by four demons. One has a branch of plum blossoms, another a wrapped lute, and the other two bundles of scrolls. A cold wind blows through the wintry willow branches where four magpies are shown. Green bamboo grows by the side of the path. The silk of the painting here is coarse and the lines somewhat stiff, the colors and washes also giving the scroll a dark, ponderous quality. Since the style differs from that of two other works by Li Shida in the National Palace Museum collection (“Sitting to Listen to Wind in Pines” and “Wind and Rain in a Mountain Pass”), this work may have been done by a later artist with a spurious signature added.
This work shows the demon-queller Zhong Kui wearing a wicker hat and riding an ox attended by four demons. One has a branch of plum blossoms, another a wrapped lute, and the other two bundles of scrolls. A cold wind blows through the wintry willow branches where four magpies are shown. Green bamboo grows by the side of the path. The silk of the painting here is coarse and the lines somewhat stiff, the colors and washes also giving the scroll a dark, ponderous quality. Since the style differs from that of two other works by Li Shida in the National Palace Museum collection (“Sitting to Listen to Wind in Pines” and “Wind and Rain in a Mountain Pass”), this work may have been done by a later artist with a spurious signature added.
‧Record of Annual Events and Activities
Wu Bin (16th-17th c.), Ming dynasty
Album leaf, ink and colors on paper, 29.4 x 69.2 cm
Wu Bin (16th-17th c.), Ming dynasty
Album leaf, ink and colors on paper, 29.4 x 69.2 cm
Wu Bin (style name Wenzhong) was a native of Putian, Fujian, who resided in Jinling (modern Nanjing). He became famous for painting in the Wanli reign (1573-1619), his figures noted for their eccentric manner different from the ancients and in his own style. His landscape arrangements are also very innovative and not mere imitations of old styles.
This album of twelve leaves depicts various activities of the lunar calendar. The scenery is mostly inventive and distorted for a truly strange manner. The figures are all like ceramic statues, while his trees are short and rounded with contorted and writhing branches. Although the structure is not quite natural, each detail is rendered with subtle transformations, making this a masterpiece of Wu’s painting.
This album of twelve leaves depicts various activities of the lunar calendar. The scenery is mostly inventive and distorted for a truly strange manner. The figures are all like ceramic statues, while his trees are short and rounded with contorted and writhing branches. Although the structure is not quite natural, each detail is rendered with subtle transformations, making this a masterpiece of Wu’s painting.
‧Copy of Literary Gathering in the Western Garden
Anonymous, Ming dynasty (1368-1644)
Hanging scroll, ink and colors on silk, 191.2 x 98.3 cm
Anonymous, Ming dynasty (1368-1644)
Hanging scroll, ink and colors on silk, 191.2 x 98.3 cm
Though the title of this painting refers to the Western Garden, it probably depicts “The Nine Elders of Xiangshan.” In fact, it is similar in composition to an anonymous work on this subject in the National Palace Museum collection.
The motifs of large pines and rocks divide the painting surface. On the left are three figures looking at a scroll, and three on the right are in conversation. In the center to the right are two figures in a game of go with one looking on. Attendants also appear here. This subject refers to a gathering of the 74-year-old Bai Juyi (772-846), the famous Tang poet, with eight other figures over the age of 70, including Hu Gao, Ji Min, Zheng Ju, Liu Zhen, Lu Zhen, Zhang Hun, Di Jianmo, and Lu Zhen, who all traveled to Bai’s Xiangshan residence of his later years.
The motifs of large pines and rocks divide the painting surface. On the left are three figures looking at a scroll, and three on the right are in conversation. In the center to the right are two figures in a game of go with one looking on. Attendants also appear here. This subject refers to a gathering of the 74-year-old Bai Juyi (772-846), the famous Tang poet, with eight other figures over the age of 70, including Hu Gao, Ji Min, Zheng Ju, Liu Zhen, Lu Zhen, Zhang Hun, Di Jianmo, and Lu Zhen, who all traveled to Bai’s Xiangshan residence of his later years.
‧Ladies
Jiao Bingzhen (17th-18th c.), Qing dynasty
Album leaf, ink and colors on silk, 30.9 x 20.4 cm
Jiao Bingzhen (17th-18th c.), Qing dynasty
Album leaf, ink and colors on silk, 30.9 x 20.4 cm
Jiao Bingzhen, a native of Jining, Shandong, served in the Directorate of Astronomy and had the chance to work with the Belgian missionary Ferdinand Verbiest (1623-1688) and thus came in contact with Western painting. His depictions of figures and palatial buildings were influenced by Western methods of shading, and he was the first Kangxi court artist to incorporate Western techniques in Chinese painting.
This album consists of eight leaves, of which four are on display here. The ladies appear in different seasons and engaged in various leisurely activities. The buildings are also rendered using Western methods of perspective, and the strong sense of shading to the washes creates a highly volumetric effect differing much from traditional Chinese techniques.
This album consists of eight leaves, of which four are on display here. The ladies appear in different seasons and engaged in various leisurely activities. The buildings are also rendered using Western methods of perspective, and the strong sense of shading to the washes creates a highly volumetric effect differing much from traditional Chinese techniques.
‧Illustrations of Agriculture and Sericulture
Leng Mei (fl. late 17th-early 18th c.), Qing dynasty
Album leaf, ink and colors on silk, 22.8 x 24 cm
Leng Mei (fl. late 17th-early 18th c.), Qing dynasty
Album leaf, ink and colors on silk, 22.8 x 24 cm
Leng Mei, a Kangxi court painter, followed Jiao Bingzhen’s (17th-18th c.) style and specialized in figures with landscapes and buildings, being also gifted at Western techniques.
This theme of peace and prosperity in the countryside, appearing in the early Southern Song (1127-1279), shows men farming and women weaving. “Agriculture” depicts scenes from planting to harvest and storage, while “Sericulture” shows the process of picking mulberry leaves to raising silkworms to make silk. The Kangxi Emperor (r. 1662-1722) ordered Jiao Bingzhen to do a painted version, to which Kangxi added verse and a preface, which became a print set presented to officials. This is Leng Mei’s copy of Jiao Bingzhen’s version, the mounting with Kangxi’s poems and preface in print. The colors are elegant and beautiful, faithfully reflecting Jiao’s style.
This theme of peace and prosperity in the countryside, appearing in the early Southern Song (1127-1279), shows men farming and women weaving. “Agriculture” depicts scenes from planting to harvest and storage, while “Sericulture” shows the process of picking mulberry leaves to raising silkworms to make silk. The Kangxi Emperor (r. 1662-1722) ordered Jiao Bingzhen to do a painted version, to which Kangxi added verse and a preface, which became a print set presented to officials. This is Leng Mei’s copy of Jiao Bingzhen’s version, the mounting with Kangxi’s poems and preface in print. The colors are elegant and beautiful, faithfully reflecting Jiao’s style.
‧After a Literary Gathering by a Song Artist
Yao Wenhan (1713-?), Qing dynasty
Handscroll, ink and light colors on paper, 46.8 x 196.1 cm
Yao Wenhan (1713-?), Qing dynasty
Handscroll, ink and light colors on paper, 46.8 x 196.1 cm
When the Tang emperor Taizong (r. 626-649) was Prince Qin, his residence featured eighteen great scholars. After ascending the throne, he ordered Yan Liben to do a painting of them, which by the Song dynasty (960-1279) became a general mode for depicting a literary gathering. Yao Wenhan did this handscroll in 1752. It features a “Eulogy on the Eighteen Scholars” in regular script by Ji Huang (1711-1794). It is similar in composition to the National Palace Museum’s “Eighteen Scholars” by the Song artist Liu Songnian (fl. 1174-1224). The coloring is bright and beautiful, the brushwork fine yet strong. Facial features reveal shading for a volumetric effect, and the furniture and objects are fine and precise.
Yao Wenhan (native to Beijing) served the Qianlong court as a painter specializing in figural themes.
Yao Wenhan (native to Beijing) served the Qianlong court as a painter specializing in figural themes.
‧Imitating a Painting of Jinling by Song Court Artists
Yang Dazhang (fl. 18th c.), Qing dynasty
Handscroll, ink and colors on paper, 34.1 x 1088.3 cm
Yang Dazhang (fl. 18th c.), Qing dynasty
Handscroll, ink and colors on paper, 34.1 x 1088.3 cm
Yang Dazhang was a court painter in the Qianlong reign (1736-1795) and excelled at figural and bird-and-flower themes.
This handscroll documents the activities of urban life in traditional China. Starting from the right, a peaceful rural scene in the suburbs comes into view. Crossing the moat, we enter the city of Jinling (the old name for Nanjing), where many people and vehicles ply streets with various shops and stalls with different things. Men and women, both young and old, crisscross the bustling city. Done in bright and beautiful colors, the figures’ expressions and actions are lively, and details are finely done, too. The signature gives a date equivalent to 1791. This work (along with the Museum’s version of “Up the River on the Qingming Festival”) is representative of a long handscroll genre painting.
This handscroll documents the activities of urban life in traditional China. Starting from the right, a peaceful rural scene in the suburbs comes into view. Crossing the moat, we enter the city of Jinling (the old name for Nanjing), where many people and vehicles ply streets with various shops and stalls with different things. Men and women, both young and old, crisscross the bustling city. Done in bright and beautiful colors, the figures’ expressions and actions are lively, and details are finely done, too. The signature gives a date equivalent to 1791. This work (along with the Museum’s version of “Up the River on the Qingming Festival”) is representative of a long handscroll genre painting.
‧Auspicious Omen of Abundant Peace
Anonymous, Qing dynasty (1644-1911)
Hanging scroll, ink and colors on silk, 128.2 x 49.3 cm
Anonymous, Qing dynasty (1644-1911)
Hanging scroll, ink and colors on silk, 128.2 x 49.3 cm
This work depicts the legendary demon-queller Zhong Kui dressed in a red robe. He looks at himself in a mirror in his left hand, and in his right hand is his dark cap. He is seated on four crouching demons as a bat flies above. Zhong Kui was known for his disfigured looks, so when he saw himself by chance in a mirror, he naturally was startled, thus accounting for the expression here. The title of this work is a homonym for the blessing “Ennobled Reflection of an Immortal.”
All depictions of Zhong Kui viewing a mirror are no earlier than the Qing dynasty, and the earliest ones are from the 18th century, such as by Gao Qipei and Fang Xun. Though the style here differs from those of these two artists, it still shares the qualities of auspiciousness and humor, suggesting this also was by a Qing dynasty painter.
All depictions of Zhong Kui viewing a mirror are no earlier than the Qing dynasty, and the earliest ones are from the 18th century, such as by Gao Qipei and Fang Xun. Though the style here differs from those of these two artists, it still shares the qualities of auspiciousness and humor, suggesting this also was by a Qing dynasty painter.
‧Mulan Becomes a Soldier
Xu Cao (1899-1961), Republican period
Hanging scroll, ink and colors on silk, 134.9 x 43.1 cm
Xu Cao (1899-1961), Republican period
Hanging scroll, ink and colors on silk, 134.9 x 43.1 cm
A native of Boling, Hebei, Xu Cao (style name Yansun, sobriquet Shuangjiang louzhu) specialized in depicting figures, especially ladies. His style was beautiful and archaic, and he had many students. He taught art at Beijing University and Jinghua Art Academy.
This work (donated to the National Palace Museum by Mr. He Yingqin) depicts the legendary heroine Hua Mulan, who takes her father’s place in the army. Here she wears martial attire as she tests her bow and arrow in the field. The figures are outlined with delicate yet strong strokes, and the colors are also elegant. The background is composed of rocks and a stream. The strokes are taut and strong, much in the manner of Ming dynasty (1368-1644) court painting. This work was done in 1934, when the artist was 35 years old.
This work (donated to the National Palace Museum by Mr. He Yingqin) depicts the legendary heroine Hua Mulan, who takes her father’s place in the army. Here she wears martial attire as she tests her bow and arrow in the field. The figures are outlined with delicate yet strong strokes, and the colors are also elegant. The background is composed of rocks and a stream. The strokes are taut and strong, much in the manner of Ming dynasty (1368-1644) court painting. This work was done in 1934, when the artist was 35 years old.