Dragon Boat Regatta on Jinming Lake 金明池圖
Item
Title
Dragon Boat Regatta on Jinming Lake
金明池圖
金明池圖
Description
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
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
identifier
40514
Source
https://www.metmuseum.org/art/collection/search/40514
Creator
Unidentified artists
After Wang Zhenpeng
臨王振鵬
After Wang Zhenpeng
臨王振鵬
annotates
Label strip
Unidentified artist, 1 column in standard script, undated:
王孤雲金明池囗囗圖
Colophons
1. Ye Gongchuo 葉恭綽 (1881–1968), 18 columns in semi-cursive script, dated 1937; 1 seal:
此卷于共和十三年得于津門，審其界畫精工，洵非孤雲莫辦。 《穰梨過眼錄》 九載此卷，尺寸、款識悉相合，不知何時歸於景樸孫，而又流出市肆也。蚤 《大觀錄》 十八亦載有此卷，孤雲題識並同，依其所紀，亦為絹本，惟圖章不合，又彼為著色者，又云：“姬人紅衫髽髻，鼓楫相向。”而此則無之。其一畫而兩繪，與復無此理。或者此為粉本未及著色者，則不應有‘皇姊珍玩之章’。余意此卷當確是真跡，其 《大觀錄》 所載一卷，未曾寓目，無從臆斷。證以此卷一無題跋，或者經作偽者割真跋以附贗作，亦未可知。此種方法余已屢見之矣。丁卯初秋展觀，輙析所疑于此。葉恭綽 [印] ：譽虎
2. Ye Gongchuo 葉恭綽 (1881–1968), 15 columns in semi-cursive script, dated 1942; 2 seals:
余於民國廿六年南來，此卷置行篋中。頃檢 《式古堂書畫彙考》 十八亦載有此卷，所紀畫本題記悉與此同，惟李源道、袁桷、鄧文原諸家題詩均為此卷所無。余前跋所云割真跋以附贗本，信不誣矣。卞錄屢稱此卷曾歸韓氏，今畫後有韓氏半印，可以為證，知此卷即曾歸韓氏者。惟卞錄又云有錢氏合缝印，今未之見。豈恰在斷爛絹幅內，為裝池者毀去耶。抑別有他故，無從臆斷矣。朱蠖公先生子北平別得一卷，絹本著色，而無題字，畫稿完全本此，則出摹繪無疑，今亦在余所，筆墨相去遠矣。民國三十一年六月葉恭綽漫識。 [印]： 遐庵六十後作、葉恭綽譽虎印
Unidentified artist, 1 column in standard script, undated:
王孤雲金明池囗囗圖
Colophons
1. Ye Gongchuo 葉恭綽 (1881–1968), 18 columns in semi-cursive script, dated 1937; 1 seal:
此卷于共和十三年得于津門，審其界畫精工，洵非孤雲莫辦。 《穰梨過眼錄》 九載此卷，尺寸、款識悉相合，不知何時歸於景樸孫，而又流出市肆也。蚤 《大觀錄》 十八亦載有此卷，孤雲題識並同，依其所紀，亦為絹本，惟圖章不合，又彼為著色者，又云：“姬人紅衫髽髻，鼓楫相向。”而此則無之。其一畫而兩繪，與復無此理。或者此為粉本未及著色者，則不應有‘皇姊珍玩之章’。余意此卷當確是真跡，其 《大觀錄》 所載一卷，未曾寓目，無從臆斷。證以此卷一無題跋，或者經作偽者割真跋以附贗作，亦未可知。此種方法余已屢見之矣。丁卯初秋展觀，輙析所疑于此。葉恭綽 [印] ：譽虎
2. Ye Gongchuo 葉恭綽 (1881–1968), 15 columns in semi-cursive script, dated 1942; 2 seals:
余於民國廿六年南來，此卷置行篋中。頃檢 《式古堂書畫彙考》 十八亦載有此卷，所紀畫本題記悉與此同，惟李源道、袁桷、鄧文原諸家題詩均為此卷所無。余前跋所云割真跋以附贗本，信不誣矣。卞錄屢稱此卷曾歸韓氏，今畫後有韓氏半印，可以為證，知此卷即曾歸韓氏者。惟卞錄又云有錢氏合缝印，今未之見。豈恰在斷爛絹幅內，為裝池者毀去耶。抑別有他故，無從臆斷矣。朱蠖公先生子北平別得一卷，絹本著色，而無題字，畫稿完全本此，則出摹繪無疑，今亦在余所，筆墨相去遠矣。民國三十一年六月葉恭綽漫識。 [印]： 遐庵六十後作、葉恭綽譽虎印
Abstract
Collectors’ seals
Xianggelaji 祥哥剌吉 (Princess Sengee, 1283–1331)
皇姊珍玩
皇姊圖書
Han Shineng 韓世能 (1528–1598)
Han yin [half seal] 韓印（半印）
Wang Yirong 王懿榮 (1845–1900)
王懿榮
Wanyan Jingxian 完顔景賢 (late 19th–early 20th c.)
景賢審定
景行維賢
景印長樂
景行秘笈
Ye Gongchuo 葉恭綽 (1881–1968)
番禺葉氏遐庵珍藏書畫典籍之印記
葉恭綽譽虎印
第一希有
Unidentified
小溪
穎川珍賞
囗長樂印
囗囗銘心之品
Illegible: 2
Xianggelaji 祥哥剌吉 (Princess Sengee, 1283–1331)
皇姊珍玩
皇姊圖書
Han Shineng 韓世能 (1528–1598)
Han yin [half seal] 韓印（半印）
Wang Yirong 王懿榮 (1845–1900)
王懿榮
Wanyan Jingxian 完顔景賢 (late 19th–early 20th c.)
景賢審定
景行維賢
景印長樂
景行秘笈
Ye Gongchuo 葉恭綽 (1881–1968)
番禺葉氏遐庵珍藏書畫典籍之印記
葉恭綽譽虎印
第一希有
Unidentified
小溪
穎川珍賞
囗長樂印
囗囗銘心之品
Illegible: 2
Rights Holder
Metropolitan Museum of Art
Identifier
66.174a
References
Lu Xinyuan 陸心源. Rangli Guan guoyan lu 穰梨館過眼錄 (Art catalogue from the Rangli Guan Studio) vol. 3, Wuxing, China: Lushi, 1891, p. 17.
Wang Jie 王杰 et al. Midian zhulin shiqu baoji xubian 秘殿珠林石渠寶笈續編 (Catalogue of painting and calligraphy in the Qianlong imperial collection, second series). Preface dated 1793. Facsimile reprint of an original manuscript copy. 8 vols. vol. 3, Taipei: National Palace Museum, 1971, pp. 1569–70.
Zhang Zhao 張照 et al. Midian zhulin shiqu baoji 祕殿珠林石渠寶笈 (Catalogue of painting and calligraphy in the Qianlong imperial collection). Preface dated 1745. Facsimile reprint of an original manuscript copy. vol. 2, Taipei: National Palace Museum, 1971, p. 1050.
Cahill, James. An Index of Early Chinese Painters and Paintings: T'ang, Sung, and Yüan. Berkeley: University of California Press, 1980.
Suzuki Kei 鈴木敬, ed. Chûgoku kaiga sogo zuroku: Daiikan, Amerika-Kanada Hen 中國繪畫總合圖錄: 第一卷 アメリカ - カナダ 編 (Comprehensive illustrated catalog of Chinese paintings: vol. 1 American and Canadian collections) Tokyo: University of Tokyo Press, 1982, pp. 24–25, cat. no. A1-125.
Fong, Wen C. Beyond Representation: Chinese Painting and Calligraphy, 8th–14th Century. New York: The Metropolitan Museum of Art, 1992, pp. 396–97, pl. 88.
Bian Yongyu 卞永譽. Shigu Tang shuhua huikao 式古堂書畫彙考 (Studies on calligraphy and painting from the Shigu Tang Studio). Preface dated 1682, juan 15 of the painting section. Reprinted in Zhongguo shuhua quanshu 中國書畫全書. Edited by Lu Fusheng 盧輔聖. Shanghai: Shanghai shuhua chubanshe, 1993–2000, vol. 3, pp. 99–101.
Wang Jie 王杰 et al. Midian zhulin shiqu baoji xubian 秘殿珠林石渠寶笈續編 (Catalogue of painting and calligraphy in the Qianlong imperial collection, second series). Preface dated 1793. Facsimile reprint of an original manuscript copy. 8 vols. vol. 3, Taipei: National Palace Museum, 1971, pp. 1569–70.
Zhang Zhao 張照 et al. Midian zhulin shiqu baoji 祕殿珠林石渠寶笈 (Catalogue of painting and calligraphy in the Qianlong imperial collection). Preface dated 1745. Facsimile reprint of an original manuscript copy. vol. 2, Taipei: National Palace Museum, 1971, p. 1050.
Cahill, James. An Index of Early Chinese Painters and Paintings: T'ang, Sung, and Yüan. Berkeley: University of California Press, 1980.
Suzuki Kei 鈴木敬, ed. Chûgoku kaiga sogo zuroku: Daiikan, Amerika-Kanada Hen 中國繪畫總合圖錄: 第一卷 アメリカ - カナダ 編 (Comprehensive illustrated catalog of Chinese paintings: vol. 1 American and Canadian collections) Tokyo: University of Tokyo Press, 1982, pp. 24–25, cat. no. A1-125.
Fong, Wen C. Beyond Representation: Chinese Painting and Calligraphy, 8th–14th Century. New York: The Metropolitan Museum of Art, 1992, pp. 396–97, pl. 88.
Bian Yongyu 卞永譽. Shigu Tang shuhua huikao 式古堂書畫彙考 (Studies on calligraphy and painting from the Shigu Tang Studio). Preface dated 1682, juan 15 of the painting section. Reprinted in Zhongguo shuhua quanshu 中國書畫全書. Edited by Lu Fusheng 盧輔聖. Shanghai: Shanghai shuhua chubanshe, 1993–2000, vol. 3, pp. 99–101.
abstract
imitation