Signed, dated and inscribed: Jingding yüan nian huayüan daizhao Xu Guyen zhi [1260]; (executed by Xu Guyen, daizhao in the Imperial Academy) trans. by J. Cahill
Lower right: two seals in red.
玉勒雕鞍寵太真，年年秋後幸華清；開元四十萬疋馬，何事騎騾蜀道行。吳興錢選舜
舉。
With jade bridle and ornate saddle He favored Taizhen,
Each year after autumn, They proceeded out to Huaqing.
During Kaiyuan, He owned four-hundred thousand horses, So
why did He ride a donkey and take the road to Shu?
Qian Xuan, [courtesy name] Shunju, from Wuxing
Signature: 錢選舜舉
Qian Xuan, Shunju
Date: none
Seals: (3)
Shunju yinzhang『舜舉印章』(rectangle intaglio) – left, top
Shunju『舜舉』(square relief) – left, middle
Qian Xuan zhi yin『錢選之印』(square intaglio) – left, bottom
Artist Seals: (2) – one on each leaf
Shunju『舜舉』(square relief) – first painting, lower left – 1/2
Shunju『舜舉』(square relief) – second painting, lower left – 2/2
Artist’s inscription and signature (2 columns in cursive script)
In winter, the eleventh lunar month of the third year of the Yuantong reign era [1335], while visiting the Cloud Grotto, I saw a crooked and twisting ancient pine. Thereupon I brushed this picture to record what I saw. An ink-play by Meihua Daoren [Wu Zhen].[1]
元統三年冬十一月因游雲洞見老松屈曲，遂寫圖此，以紀其所見也。梅花道人戲墨。
Artist's seals
Meihua An 梅花
Jiaxing Wu Zhen Zhonggui shuhua ji 嘉興吳鎮仲圭書畫記
[1] Translation from Wen C. Fong. Beyond Representation: Chinese Painting and Calligraphy 8th–14th Century. New York: The Metropolitan Museum of Art, 1992, p. 446. Modified.
Artist signature: Liu Songnian 劉松年 (ca. 1150–after 1225) – spurious
Ink on silk. Painting, lower left corner
Seven characters, standard script
金帶待招劉松年
Expectant Official with Golden Belt, Liu Songnian
Signature: 劉松年
Liu Songnian
Seal: (1) - partially legible
Ji-x『繼□』(circle intaglio) – painting lower left
Artist’s signature (1 column in clerical script, undated):
Servitor Wang Zhenpeng
臣王振朋
Artist’s colophon (18 columns in clerical script, dated 1323):
In the Chongning reign era [1102–06], the Jinming [Golden Bright] Lake used to be opened on the third day of the third lunar month and prizes were offered so that the citizens could share its pleasure with the monarch. This is described in detail in the Dreams of the Splendor of the Eastern Capital [Menghua lu by Meng Yuanlao]. In the gengxu year of the Zhida reign era [1310], it happened to be the “Festival of a Thousand Springs” [i.e., the royal birthday] of his imperial highness, the heir-apparent, the future emperor Renzong, when I did a painting depicting this subject for presentation [as a birthday gift]. I inscribed on the painting the following poem:
On the third day of the third lunar month the Golden Bright Pond was bustling with games of the giant dragon boats,
Amidst the thundering applause and cacophony of drumbeats and music.
The aura of joy was radiant as the sun and brightened the flags and banners.
Although the prizes could not be worth much, the river-boys from the Wu District
Were heedless in the height of their ecstasy.
They remind us of all the foolish competitors of the world
Who strive forward by inches and backward by feet.
But what actually counts is the idea of shared pleasures with the entire populace.
For that reason alone, I dare to compose this piece of ‘soundless poetry’ [painting].
The Heir-apparent leads a simple life and indulges himself in no excesses.
In the garden of the arts and the forest of books alone, he enjoys himself with spiritual and visual pleasures.
Today on the occasion of his royal birthday, I respectfully record this for posterity –
As a ‘golden example for the coming thousands of years.’
I respectfully recall that on that occasion Her Imperial Highness, Dazhang Gongzhu [The Grand Elder Princess] had seen my painting. Now, after a lapse of more than twelve year, I am instructed to make another version of the same composition. My eyesight however, is not as good as before. Even though I have tried my best to comply, I am still deeply afraid that the painting is unworthy of presentation for her royal scrutiny. In the late spring of the guihai year of the Zhizhi reign era [1323] Linjiling (In charge of the Granary), Wang Zhenpeng, prostrating himself, respectfully painted and wrote this.[1]
崇寧間三月三日開放金明池，出錦標與萬民同樂，詳見《夢華錄》。至大庚戌欽遇仁廟青宮千春節嘗作此圖進呈，題曰：
三月三日金明池，龍驤萬斛紛遊嬉。
歡聲雷動喧鼓吹，喜色日射明旌旗。
錦標濡沫能幾許，吳兒顛倒不自知。
因憐世上奔競者，進寸退尺何其癡。
但取萬民同樂意，為作一片無聲詩。
儲皇簡澹無嗜慾，藝圃書林悅心目。
適當今日稱壽觴，敬當千秋金鑑錄。
恭惟大長公主嘗覽此圖，閱一紀餘，今奉教再作，但目力減如曩昔，勉而為之，深懼不足呈獻。時至治癸亥春莫廩給令王振朋百拜敬畫謹書。
Artist's seal
Teci Guyun Chushi tushu 特賜孤雲處士圖書
Artist Inscription: (1) – painting, upper left
2 columns, standard script.
至正甲午暮春，吳興王蒙為仲方縣尹尊親作《夏山隱居》。
Last month of spring in the jiawu year of the Zhizheng reign period [March 25–April 23, 1354],
Wang Meng of Wuxing made Dwelling in Seclusion in the Summer Mountains for his honorable
kinsman, the district magistrate Zhongfang [unidentified].1
Signature: 王蒙
Wang Meng
Date: 至正甲午暮春
Last month of spring in the jiawu year of the Zhizheng reign period
[March 25–April 23, 1354]
Seals: none
