Fragrant Snow at Broken Bridge 墨梅圖
Item
Title
Fragrant Snow at Broken Bridge
墨梅圖
墨梅圖
Description
Artist’s inscription and signature (4 columns in semi-cursive script)
A wintry plum tree with branches like white jade,
A warm breeze scatters the flowers with snowflakes.
The Hermit of the Lonely Hill [Lin Bu, 967–1028] has remained true to himself;
Now who carries the sound of reedpipe music across the broken bridge?[1]
Yuanzhang [Wang Mian]
一樹寒梅白玉條，
暖風吹亂雪飄飄。
孤山處士情如故，
誰載笙歌過斷橋。
元章
Artist's seals
Zhu Zhai tushu 竹齋圖書
Kuaiji jia shanshui 會稽佳山水
Fangwai Sima 方外司馬
[1] Translation from Wen C. Fong, Sung and Yuan Paintings, with catalogue by Marilyn Fu. Exh. cat. New York: The Metropolitan Museum of Art, 1973, p. 132.
A wintry plum tree with branches like white jade,
A warm breeze scatters the flowers with snowflakes.
The Hermit of the Lonely Hill [Lin Bu, 967–1028] has remained true to himself;
Now who carries the sound of reedpipe music across the broken bridge?[1]
Yuanzhang [Wang Mian]
一樹寒梅白玉條，
暖風吹亂雪飄飄。
孤山處士情如故，
誰載笙歌過斷橋。
元章
Artist's seals
Zhu Zhai tushu 竹齋圖書
Kuaiji jia shanshui 會稽佳山水
Fangwai Sima 方外司馬
[1] Translation from Wen C. Fong, Sung and Yuan Paintings, with catalogue by Marilyn Fu. Exh. cat. New York: The Metropolitan Museum of Art, 1973, p. 132.
identifier
40080
Source
https://www.metmuseum.org/art/collection/search/40080
Creator
Wang Mian
王冕
王冕
annotates
Label strip
Shen Jin’an 沈覲安 (1901–1975), 1 column in semi-cursive script, undated:
Fragrant Snow at Broken Bridge by Wang Yuanzhang [Wang Mian]. Inscribed by Shen Jianzhi [Shen Jin’an].
王元章《斷橋香雪圖》，沈劍知題。
Colophons
1. Gu Dadian 顧大典 (jinshi 1568), 9 columns in semi-cursive script, dated 1568; 2 seals:
The plum paintings by the Stone-cooking Mountain Peasant [Wang Mian] are in no way inferior to those by Yang Wujiu [Yang Buzhi, 1097–1169]. His brushwork is free with an ancient flair, powerful yet eccentric, which was unique of his time. One can envision his lofty spirit and wild manners while wielding a wooden sword in a tall, brimmed hat and a pair of thick-soled wooden clogs. Unfortunately he was not prolific; very few of his works have survived. I have only seen a long handscroll by him at the Lanyun Ge Studio. In the fifth lunar month of the second year of the Longqing reign era [1568], Daoxing [Gu Dadian]. [Seals]: Dadian, Hengyu
煮石山農畫梅不減楊無咎，筆法古逸，渾雄奇崛，獨冠一峕，可想見其著高簷帽、履長齒木屐、擊木劍之高風狂態也。惜不多作，流傳極少，余僅於攬雲閣見一長卷而已。隆慶二年五月道行 [印]： 大典、衡寓
2. Zhang Fengshi 張逢時 (1917–1990), 7 columns in semi-cursive script, dated 1966; 1 seal:
The Stone-cooking Mountain Peasant had an unusual spirit. His plum paintings are therefore dark and subdued with archaic ruggedness. This scroll has an extra flair of nonchalant elegance. It has achieved the full range of what one can do with plum painting. May Mr. Yong treasure it in his collection. Inscribed by Zhang Fengshi on an autumn day in the bingwu year (1966). [Seal]: Zhang Fengshi yin
煮石山農胸有奇氣，故畫梅沈鬱古峭，觀此幀而別具灑落之致，畫梅之能事畢矣。顒翁其寶藏之。丙午秋日張逢時題 。 [印]：張逢時印
Shen Jin’an 沈覲安 (1901–1975), 1 column in semi-cursive script, undated:
Fragrant Snow at Broken Bridge by Wang Yuanzhang [Wang Mian]. Inscribed by Shen Jianzhi [Shen Jin’an].
王元章《斷橋香雪圖》，沈劍知題。
Colophons
1. Gu Dadian 顧大典 (jinshi 1568), 9 columns in semi-cursive script, dated 1568; 2 seals:
The plum paintings by the Stone-cooking Mountain Peasant [Wang Mian] are in no way inferior to those by Yang Wujiu [Yang Buzhi, 1097–1169]. His brushwork is free with an ancient flair, powerful yet eccentric, which was unique of his time. One can envision his lofty spirit and wild manners while wielding a wooden sword in a tall, brimmed hat and a pair of thick-soled wooden clogs. Unfortunately he was not prolific; very few of his works have survived. I have only seen a long handscroll by him at the Lanyun Ge Studio. In the fifth lunar month of the second year of the Longqing reign era [1568], Daoxing [Gu Dadian]. [Seals]: Dadian, Hengyu
煮石山農畫梅不減楊無咎，筆法古逸，渾雄奇崛，獨冠一峕，可想見其著高簷帽、履長齒木屐、擊木劍之高風狂態也。惜不多作，流傳極少，余僅於攬雲閣見一長卷而已。隆慶二年五月道行 [印]： 大典、衡寓
2. Zhang Fengshi 張逢時 (1917–1990), 7 columns in semi-cursive script, dated 1966; 1 seal:
The Stone-cooking Mountain Peasant had an unusual spirit. His plum paintings are therefore dark and subdued with archaic ruggedness. This scroll has an extra flair of nonchalant elegance. It has achieved the full range of what one can do with plum painting. May Mr. Yong treasure it in his collection. Inscribed by Zhang Fengshi on an autumn day in the bingwu year (1966). [Seal]: Zhang Fengshi yin
煮石山農胸有奇氣，故畫梅沈鬱古峭，觀此幀而別具灑落之致，畫梅之能事畢矣。顒翁其寶藏之。丙午秋日張逢時題 。 [印]：張逢時印
Abstract
Collectors' seals
Qing emperor Qianlong 清帝乾隆 (r. 1736–1795)
Qianlong jianshang 乾隆鑑賞
Wang Jiqian 王季遷 (C.C. Wang, 1907–2003)
Wang shi Jiqian zhencang zhi yin 王氏季遷珍藏之印
Unidentified
Gongyi Zhai shuhua zhang 恭毅齋書畫章
Shiwang Fang Zhushan cang 石望方柱山藏
Qing emperor Qianlong 清帝乾隆 (r. 1736–1795)
Qianlong jianshang 乾隆鑑賞
Wang Jiqian 王季遷 (C.C. Wang, 1907–2003)
Wang shi Jiqian zhencang zhi yin 王氏季遷珍藏之印
Unidentified
Gongyi Zhai shuhua zhang 恭毅齋書畫章
Shiwang Fang Zhushan cang 石望方柱山藏
Rights Holder
Metropolitan Museum of Art
Identifier
1973.121.9
References
Fong, Wen C., and Marilyn Fu. Sung and Yuan Paintings. Exh. cat. New York: The Metropolitan Museum of Art, 1973, pp. 131–33, 135, 151 (ill. p. 135), 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, p. 3, cat. no. A1-004.
Barnhart, Richard M. Along the Border of Heaven: Sung and Yüan Paintings from the C. C. Wang Family Collection. New York: The Metropolitan Museum of Art, 1983, pp. 142–44, fig. 65.
Fong, Wen C. Beyond Representation: Chinese Painting and Calligraphy, 8th–14th Century. New York: The Metropolitan Museum of Art, 1992, pp. 392–96, pls. 87, 87a.
Bickford, Maggie. Ink Plum: The Making of a Chinese Scholar-Painting Genre. Cambridge; New York: Cambridge University Press, 1996, pp. 209–12, pl. 32, fig. 51D.
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, p. 3, cat. no. A1-004.
Barnhart, Richard M. Along the Border of Heaven: Sung and Yüan Paintings from the C. C. Wang Family Collection. New York: The Metropolitan Museum of Art, 1983, pp. 142–44, fig. 65.
Fong, Wen C. Beyond Representation: Chinese Painting and Calligraphy, 8th–14th Century. New York: The Metropolitan Museum of Art, 1992, pp. 392–96, pls. 87, 87a.
Bickford, Maggie. Ink Plum: The Making of a Chinese Scholar-Painting Genre. Cambridge; New York: Cambridge University Press, 1996, pp. 209–12, pl. 32, fig. 51D.