Scholars of the Liuli Hall 琉璃堂人物圖
Item
Title
Scholars of the Liuli Hall
琉璃堂人物圖
琉璃堂人物圖
Description
(none)
identifier
39657
Source
https://www.metmuseum.org/art/collection/search/39657
Creator
Unidentified artist
Attributed to Zhou Wenju (conjecture)
傳周文矩
Attributed to Zhou Wenju (conjecture)
傳周文矩
annotates
Inscription on the painting
Song emperor Huizong 宋徽宗 (r. 1101–1126) [spurious], 2 columns in standard script, undated; 1 seal:
Zhou Wenju's Scholars of the Liuli Hall, a refined work of the divine class. [Seal]: Neifu tushu zhi yin
周文矩《琉璃堂人物圖》，神品工妙也。 [印]：内府圖書之印
Label strip
Di Baoxian狄葆賢 (1873–1941), 1 column in standard script, undated; 1 illegible seal:
Zhou Wenju's Scholars of the Liuli Hall, a genuine work of the divine class, unsurpassed. Treasured in the collection of the Pingdeng Ge Studio.
周文矩《琉璃堂人物圖》真跡，無上神品。平等閣珍藏。
Frontispiece
Di Baoxian 狄葆賢 (1873–1941), 11 large characters in standard script and 2 columns in semi-cursive script, dated 1925; 3 seals:
Zhou Wenju's Scholars of the Liuli Hall of the Divine Class
In the first month of winter of the yichou year (1925) Di Pingzi inscribed this in the Baozi An Retreat. [Seals]: Pingdeng Ge cang, Di Pingzi, Baoxian An
周文矩《琉璃堂人物圖》神品
乙丑孟冬狄平子題於寶賢庵。 [印]：平等閣藏、狄平子、寶賢庵
Label strip
Liu E 劉鶚 (1857–1909), 1 column in standard script, dated 1900:
Zhou Wenju's Scholars of the Liuli Hall, acquired in the twelfth month of the gengzi year. Liu Tieyun (Liu E) inscribed the title strip.
周文矩《琉璃堂人物圖》，庚子臘月得此，劉鐵雲書簽。
Colophons
1. Di Baoxian 狄葆賢 (1873–1941), 4 columns in semi-cursive script, dated 1924; 1 seal:
此卷用筆古拙，與唐人畫法極似。眉目悉用濃墨，衣摺為鐵線，宋以後人無此畫法。羅叔蘊有一卷，僅後面之半段。一人捉筆，一人撫松，視為祕寶。以此相較，有天壤之別。此卷當定為真蹟無疑。甲子秋初平子狄葆賢 [印]：平子偶筆
2. Di Baoxian 狄葆賢 (1873–1941), 5 columns in semi-cursive script, dated 1925; 1 seal:
近見古書畫多有宣和題款，其貌頗似，然皆偽作。此款十四字，活潑靈妙，秀逸在骨，確為道君真跡無疑。此卷本劉鐵雲故物，憶前清光緒末年時，李文石、王子展共為賞鑒，其論與余合。文石審定書畫均精，子展對於書法鑒賞亦確。今三君久歸道山，與琉璃堂人物同為古人矣。乙丑冬日狄平子誌。 [印]：平等閣主人
3. Wang Yijian 王易簡 (late 13th century), 10 columns in standard script, undated; 2 seals:
Zhang Qiao (late 9th c.) of the Tang dynasty (618–907) once wrote a quatrain titled “On Wang Changling’s (690–756) Hall That Has Become Xu Tang’s (late 9th c.) Official Residence in Shangyuan,” which reads:
The guests of the Liuli Hall in those days
Have long ceased chanting, but their practice continues in later times.
After 140 years, trees in the courtyard have grown old;
Now they get to meet poets again.
[Wang] Changling was a native of Jiangning [modern Nanjing region], which later changed its name to Shangyuan. [Zhang] Qiao received his jinshi degree during the Xiantong reign (860–74). The gap between his and Changling’s times roughly corresponds to that mentioned in the poem. The so-called "Liuli Hall" was doubtless in Jinling (Nanjing), so it should be in the repertoire of Jiangnan painting. What I do not know is, several decades after the Xiantong era, for whom [Zhou] Wenju created this painting. Perhaps the drooping old pines are the only relics from the time of Wang [Changling] and Xu [Tang]. [Signed] Wang Yijian from Shanyin [in Zhejiang Province][1] [Seals]: Wang Lide fu, Huayin Yuan
唐張喬有“題上元許棠所任王昌齡廳”絕句云：“琉璃堂裡當時客，久絕吟聲繼後塵。百四十年庭樹老，如今重得見詩人。”昌齡，江寧人，江寧後改上元。喬，咸通間進士，略計去昌齡之時近遠亦與詩合。所謂琉璃堂者，在金陵無疑，故應入江南圖畫中。特未知後咸通又數十年，文矩著筆政復為誰耳？抑老松偃蹇，猶存王許故物耶。山陰王易簡 [印]：王理得父、畫隱園
4. Qiu Songsheng 邱崧生 (active early 20th century), 1 column in standard script, dated 1902:
光緒壬寅首夏山陽邱崧生拜觀于抱殘守缺齋。
5. Di Baoxian 狄葆賢 (1873-1941), 9 columns in semi-cursive script, dated 1925; 3 seals:
宋元人真蹟留存世間者實希如星鳳，大都明人臨本。佳者去款亦屬不易。以其去真本雖未能全似，或得其半，或得一體，已屬可寶。猶之碑帖，宋翻宋拓[“已屬”二字點去]尚為難得，後人賴此可以窺見古人用筆用墨之法則，利益於後人者，亦[“屬不少”三字點去]非淺鮮矣。明人臨本尚當寶貴，何況真跡。此卷為抱殘守缺齋主人劉君鐵雲所藏，清季末葉時，以質巨金於錢肆，展轉入余平等閣，畫笈生色不少。乙丑病起，精神未復，倚枕題此，字句多誤，可哂也。平子題于平等閣。 [印]：平等閣主、狄平子心賞、愛畫入骨髓
[1]Translation by Shi-yee Liu.
Song emperor Huizong 宋徽宗 (r. 1101–1126) [spurious], 2 columns in standard script, undated; 1 seal:
Zhou Wenju's Scholars of the Liuli Hall, a refined work of the divine class. [Seal]: Neifu tushu zhi yin
周文矩《琉璃堂人物圖》，神品工妙也。 [印]：内府圖書之印
Label strip
Di Baoxian狄葆賢 (1873–1941), 1 column in standard script, undated; 1 illegible seal:
Zhou Wenju's Scholars of the Liuli Hall, a genuine work of the divine class, unsurpassed. Treasured in the collection of the Pingdeng Ge Studio.
周文矩《琉璃堂人物圖》真跡，無上神品。平等閣珍藏。
Frontispiece
Di Baoxian 狄葆賢 (1873–1941), 11 large characters in standard script and 2 columns in semi-cursive script, dated 1925; 3 seals:
Zhou Wenju's Scholars of the Liuli Hall of the Divine Class
In the first month of winter of the yichou year (1925) Di Pingzi inscribed this in the Baozi An Retreat. [Seals]: Pingdeng Ge cang, Di Pingzi, Baoxian An
周文矩《琉璃堂人物圖》神品
乙丑孟冬狄平子題於寶賢庵。 [印]：平等閣藏、狄平子、寶賢庵
Label strip
Liu E 劉鶚 (1857–1909), 1 column in standard script, dated 1900:
Zhou Wenju's Scholars of the Liuli Hall, acquired in the twelfth month of the gengzi year. Liu Tieyun (Liu E) inscribed the title strip.
周文矩《琉璃堂人物圖》，庚子臘月得此，劉鐵雲書簽。
Colophons
1. Di Baoxian 狄葆賢 (1873–1941), 4 columns in semi-cursive script, dated 1924; 1 seal:
此卷用筆古拙，與唐人畫法極似。眉目悉用濃墨，衣摺為鐵線，宋以後人無此畫法。羅叔蘊有一卷，僅後面之半段。一人捉筆，一人撫松，視為祕寶。以此相較，有天壤之別。此卷當定為真蹟無疑。甲子秋初平子狄葆賢 [印]：平子偶筆
2. Di Baoxian 狄葆賢 (1873–1941), 5 columns in semi-cursive script, dated 1925; 1 seal:
近見古書畫多有宣和題款，其貌頗似，然皆偽作。此款十四字，活潑靈妙，秀逸在骨，確為道君真跡無疑。此卷本劉鐵雲故物，憶前清光緒末年時，李文石、王子展共為賞鑒，其論與余合。文石審定書畫均精，子展對於書法鑒賞亦確。今三君久歸道山，與琉璃堂人物同為古人矣。乙丑冬日狄平子誌。 [印]：平等閣主人
3. Wang Yijian 王易簡 (late 13th century), 10 columns in standard script, undated; 2 seals:
Zhang Qiao (late 9th c.) of the Tang dynasty (618–907) once wrote a quatrain titled “On Wang Changling’s (690–756) Hall That Has Become Xu Tang’s (late 9th c.) Official Residence in Shangyuan,” which reads:
The guests of the Liuli Hall in those days
Have long ceased chanting, but their practice continues in later times.
After 140 years, trees in the courtyard have grown old;
Now they get to meet poets again.
[Wang] Changling was a native of Jiangning [modern Nanjing region], which later changed its name to Shangyuan. [Zhang] Qiao received his jinshi degree during the Xiantong reign (860–74). The gap between his and Changling’s times roughly corresponds to that mentioned in the poem. The so-called "Liuli Hall" was doubtless in Jinling (Nanjing), so it should be in the repertoire of Jiangnan painting. What I do not know is, several decades after the Xiantong era, for whom [Zhou] Wenju created this painting. Perhaps the drooping old pines are the only relics from the time of Wang [Changling] and Xu [Tang]. [Signed] Wang Yijian from Shanyin [in Zhejiang Province][1] [Seals]: Wang Lide fu, Huayin Yuan
唐張喬有“題上元許棠所任王昌齡廳”絕句云：“琉璃堂裡當時客，久絕吟聲繼後塵。百四十年庭樹老，如今重得見詩人。”昌齡，江寧人，江寧後改上元。喬，咸通間進士，略計去昌齡之時近遠亦與詩合。所謂琉璃堂者，在金陵無疑，故應入江南圖畫中。特未知後咸通又數十年，文矩著筆政復為誰耳？抑老松偃蹇，猶存王許故物耶。山陰王易簡 [印]：王理得父、畫隱園
4. Qiu Songsheng 邱崧生 (active early 20th century), 1 column in standard script, dated 1902:
光緒壬寅首夏山陽邱崧生拜觀于抱殘守缺齋。
5. Di Baoxian 狄葆賢 (1873-1941), 9 columns in semi-cursive script, dated 1925; 3 seals:
宋元人真蹟留存世間者實希如星鳳，大都明人臨本。佳者去款亦屬不易。以其去真本雖未能全似，或得其半，或得一體，已屬可寶。猶之碑帖，宋翻宋拓[“已屬”二字點去]尚為難得，後人賴此可以窺見古人用筆用墨之法則，利益於後人者，亦[“屬不少”三字點去]非淺鮮矣。明人臨本尚當寶貴，何況真跡。此卷為抱殘守缺齋主人劉君鐵雲所藏，清季末葉時，以質巨金於錢肆，展轉入余平等閣，畫笈生色不少。乙丑病起，精神未復，倚枕題此，字句多誤，可哂也。平子題于平等閣。 [印]：平等閣主、狄平子心賞、愛畫入骨髓
[1]Translation by Shi-yee Liu.
Abstract
Collectors' seals
Dong Gao 董誥 (1740–1818)
富春董氏收藏書畫記
Di Baoxian 狄葆賢 (1873–1941)
平等閣藏
Unidentified
寳勤堂書畫印
臣兆鳳印
臣兆鳳
臣兆鳳
桐華庵主
山靜日長
穎川世家陳氏子木鑑藏書畫圖籍印章
陳氏子木秘笈之印
陳氏子木父秘笈之印
子木秘玩
木道人
師藝鑑定
囗囗收藏書畫之印
墨緣
Dong Gao 董誥 (1740–1818)
富春董氏收藏書畫記
Di Baoxian 狄葆賢 (1873–1941)
平等閣藏
Unidentified
寳勤堂書畫印
臣兆鳳印
臣兆鳳
臣兆鳳
桐華庵主
山靜日長
穎川世家陳氏子木鑑藏書畫圖籍印章
陳氏子木秘笈之印
陳氏子木父秘笈之印
子木秘玩
木道人
師藝鑑定
囗囗收藏書畫之印
墨緣
Rights Holder
Metropolitan Museum of Art
Identifier
1977.49
References
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. 28–29, cat. no. A1-136.
Morris, Edwin T. The Gardens of China: History, Art and Meanings. New York: Scribner, 1983, p. 57.
Fong, Wen C. Beyond Representation: Chinese Painting and Calligraphy, 8th–14th Century. New York: The Metropolitan Museum of Art, 1992, pp. 40–41, pl. 6.
Nara Kokuritsu Hakubutsukan 奈良国立博物館. Dai Kentōshi-ten: Heijō sento 1300-nen kinen 大遣唐使展 : 平城遷都1300年記念 (Imperial envoys to Tang China: early Japanese encounters with continental culture). Exh. cat. Nara: Nara Kokuritsu Hakubutsukan, Heisei 22 [2010], pp. 52–53, 298, cat. no. 25.
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. 28–29, cat. no. A1-136.
Morris, Edwin T. The Gardens of China: History, Art and Meanings. New York: Scribner, 1983, p. 57.
Fong, Wen C. Beyond Representation: Chinese Painting and Calligraphy, 8th–14th Century. New York: The Metropolitan Museum of Art, 1992, pp. 40–41, pl. 6.
Nara Kokuritsu Hakubutsukan 奈良国立博物館. Dai Kentōshi-ten: Heijō sento 1300-nen kinen 大遣唐使展 : 平城遷都1300年記念 (Imperial envoys to Tang China: early Japanese encounters with continental culture). Exh. cat. Nara: Nara Kokuritsu Hakubutsukan, Heisei 22 [2010], pp. 52–53, 298, cat. no. 25.