Poems on painting plum blossoms and bamboo 行書梅竹詩譜
Item
Title
Poems on painting plum blossoms and bamboo
行書梅竹詩譜
行書梅竹詩譜
Description
Inscription: Artist’s inscription and signature (68 columns in semi-cursive and cursive scripts)
Kang Jiean of my hometown, a painter of ink plum blossoms, has asked me for a poem, so I will explain what is important and what is unimportant in this art.
Taochan [Yang Wujiu, 1097‒1169] followed the style of Huaguang [Monk Zhongren, ca. 1051‒1123];
He captured the pure resonance of the master.
Xianan [Tang Zhengzhong, ca. mid-late 12th c.] studied with Taochan;
He learned clear composition from his master.
As one looks at the jade-like flowers and mouse-whisker stamens,
One knows his skill is more exquisite [than that of Huaguang].
His branches are always depicted in the shape of deer horns,
The vitality of his painting comes from this kind of execution.
Although it is not important to consider the orthodox tradition,
Compared to the true method [of Yang and Tang] the others are not proper.
Monk Ding paints the flowers skillfully but the branches are roughly done,
Liu Mengliang has good ideas but his technique is insufficient.
Surprisingly there is a lady painter, Madame Bao,
She has been able to inherit her master's method.
It is a pity for me knowing the fame of the fine plum painter
Bi Gongji of Jiangxi but never having met him;
The painting of Yang Jiheng is coarse, distasteful, and clumsy;
He is the first to introduce bad taste but Yao Xuepeng is even worse.
This is like the saying of Zhang Rong:
"I regret that the two Wangs did not have my calligraphy method."
How many girls who lived near the beautiful Xishi tried to compare with her?
How can something interesting not be transmitted?
One must have the eye to discover beauty.
A flower should be painted with only seven stamens and three sepals;
New buds should be executed with dots like pepper,
The tip of the branch must be painted like a rat's tail.
Light and dark ink are applied
For showing the branches in three layers of ink tones.
Flowers should be depicted with front and back sides
While buds are painted in various shapes.
You already comprehend the secret of this art,
If I repeat this method, my words become verbose.
Whose family will have your painting on a screen?
My poem may be used to explain your art.
Kang Jie’an seemed not to comprehend my poem, but Xu Meigu asked me for another poem on the same subject, so I wrote the following:
Dark ink is used for the blossoming branches,
Light ink is used for the tip of the branches.
The old trunk with scales and wrinkles should be painted
With slightly dark and dry ink.
The flower petals can be depicted with three strokes
Separately drawn but still connected.
Pepper dots used to show the new buds should be drawn like pearls.
Strokes fine as bee whiskers are painted around the heart of the flower
Like a smiling face with a dimple,
The long branch tip is executed with a stroke
Steadily dragged like a rat's tail.
Painting the plum blossoms in the wind,
All the flowers should be moving in the same direction.
Half the branch may be covered with snow
When painting the plum in this guise,
The plum blossoms must be arranged properly
When painted together with pine and bamboo.
When flowers are depicted floating on the water,
Make them seem to dance and toss.
When painting evening scenery, accompany it with the bright moon.
Besides long and short bridges,
Plum blossoms may be arranged along clear shallow mountain streams.
A group of blossoming branches painted close to each other
Seem to have a clamorous and cheerful feeling;
Branches depicted back-to-back quietly
Display a listless expression.
Although the brushwork of a painting is distinctively finished,
It is obviously more than just brushstrokes;
On a scroll, the vertical and horizontal lines are not merely drawing.
[Looking at a painting] one will feel the room
Filling with the atmosphere of springtime,
Or recall passing through plum blossoms in the rain.
From beginning to end, Yang and Tang's methods should be followed;
Continue studying hard; how can skill be mastered in just a day?
I wrote the following for the bamboo painter Wang Cuiyan, who asked for a poem on this subject:
The most ancient paintings showed objects without definite forms,
Then forms were depicted closely following the actual objects.
People later followed the methods of early masters,
Tracing their footprints as though stamping a seal on clay.
But a close copy is like building the same house upon another,
When new ideas are added the work is more satisfying.
It has been several hundred years since the Wei and Jin dynasties.
Who can carry on the calligraphic tradition of Wang Xizhi and Wang Xianzhi?
People nowadays forget the poetry of Li Bai and Du Fu.
They are eager to study the new style of the Jianghu school.
I hope you can plant a thousand acres of bamboo
Like those growing along the Wei River;
After a meal you can relax and take a walk.
All the phenomena of bamboo in wind, in clear weather, in mist and in rain
Will be within your heart,
The luxuriant and upright nature of bamboo
Will come forth freely from your brush.
Oh, how common Zizhang looks when Yuan Dafu appears!
These three poems may be seen as a treatise on plum and bamboo painting. However, those who do not have poetry in their hearts will be confounded when they see these poems. Several months after Cuiyan received my poem, he suddenly came to ask me: "What I requested was a poem on bamboo painting, why did you write about the poems of Li Bai and Du Fu?" I answered with a laugh, "This is not beyond your understanding. It's only that no one has ever told you about it. Have you not heard the words: "If you restrict your theme, you can not be a good poet'?" My cousin Huangfu, who has been studying here with me, learned that I had composed these poems, and he delightedly asked me to write them down. I worry that I too may not have a poetic nature and will also be confounded. Those who understand poetry may correct me. I am old now and do not wish to say too much.
Written by Zhao Mengjian, Zigu, Yizhai Jushi of the royal family under the light of a candle at ten o'clock on the sixth day of the tenth month, the first year of the Jingding era [1260]. I am now staying with the Wang family of Salt Bridge [in Hangzhou].[1]
里中康節菴畫墨梅求詩，因述本末以示之。子固
逃禪祖花光, 得其韻度之清麗； 間菴紹逃禪, 得其蕭散之布置。
回觀玉面而鼠鬚，已自工夫較精緻。
枝枝例作鹿角曲，生意由來端若爾。
所傳正統諒末節，捨此的傳皆偽耳。
僧定花工枝則粗，夢良[貴字點去]意到工則未。
女[兒字點去]中卻有鮑夫人，能守師繩不輕墜。
可憐聞名未識面，云有江西畢公濟。
季衡醜粗惡拙祖，弊到雪蓬觴濫矣。
所恨二王無臣法，多少東鄰擬西子。
是中有趣豈不傳，要以眼力求其旨。
踢鬚止七蕚則三，點眼名椒梢鼠尾。
枝分三疊墨濃澹，花有正背多般蘂。
夫君固已悟筌蹄，重說偈言吾亦贅。
誰家屏幛得君畫，更以吾詩疏其底。
康不領此詩也, 又有許梅谷者仍求, 又賦長律。
濃寫花枝澹寫梢，鱗皴老榦墨微燋。
筆分三踢攢成瓣，珠暈一圓工點椒。
糝缀蜂鬚凝笑靨，穩拖鼠尾施長條。
盡吹心側風初急，猶把枝埋雪半銷。
松竹襯時明掩映，水波浮處見飄颻。
黃昏時候朧明月，清淺谿山長短橋。
鬧裏相挨如有意，靜中背立見無聊。
筆端的瀝明非畫，軸上縱橫不是描。
頓覺坐成春盎[缺一字]，因思行過雨瀟瀟。
從頭摠是揚湯法，拚下工夫豈一朝 。
王翠巌寫竹求詩，亦與。
古畫畫物無定形，隨物賦形皆迫真。
其次祖述有師繩，如印印泥隨前人。
尚疑屋下重作屋，參以新意意乃足。
晉魏而成幾百年，羲獻斷弦誰解續。
何况高束李杜編，江湖競買新詩讀。
願君種取渭川一千畝，飽飯逍遙步捫腹。
風晴烟雨盡入君心胸，吐出毫端自森肅。
員大夫來子章何碌碌。
三詩蓋梅竹譜也, 然胸中無詩者見之捍格。翠巌得詩後數月忽問余曰:“所求畫竹詩耳, 乃及李、杜編，何也？”余笑曰：“非君不解, 世無人為君言耳。‘作詩必此詩, 定非能詩人。’不聞此語耶？”皇甫表工學於斯, 聞余詩欣然求書, 正恐胸中無詩種, 又捍格也。識者為余一撥, 余老不事多言云。景定元禩良月六日, 所寓邸乃鹽橋王氏家, 二鼓燭下書諸。王孫趙孟堅子固彝齋居士記。
Artist’s seals
Mengjian 孟堅
Zigu 子固
Yizhai 彜齋
[1] Translation from Kwan S. Wong and Stephen Addiss, Masterpieces of Song and Yuan Dynasty Calligraphy from the John C. Crawford Jr. Collection. Exh. cat. New York: China Institute in America, 1981, pp. 52–57, cat. no. 9. Modified.
Kang Jiean of my hometown, a painter of ink plum blossoms, has asked me for a poem, so I will explain what is important and what is unimportant in this art.
Taochan [Yang Wujiu, 1097‒1169] followed the style of Huaguang [Monk Zhongren, ca. 1051‒1123];
He captured the pure resonance of the master.
Xianan [Tang Zhengzhong, ca. mid-late 12th c.] studied with Taochan;
He learned clear composition from his master.
As one looks at the jade-like flowers and mouse-whisker stamens,
One knows his skill is more exquisite [than that of Huaguang].
His branches are always depicted in the shape of deer horns,
The vitality of his painting comes from this kind of execution.
Although it is not important to consider the orthodox tradition,
Compared to the true method [of Yang and Tang] the others are not proper.
Monk Ding paints the flowers skillfully but the branches are roughly done,
Liu Mengliang has good ideas but his technique is insufficient.
Surprisingly there is a lady painter, Madame Bao,
She has been able to inherit her master's method.
It is a pity for me knowing the fame of the fine plum painter
Bi Gongji of Jiangxi but never having met him;
The painting of Yang Jiheng is coarse, distasteful, and clumsy;
He is the first to introduce bad taste but Yao Xuepeng is even worse.
This is like the saying of Zhang Rong:
"I regret that the two Wangs did not have my calligraphy method."
How many girls who lived near the beautiful Xishi tried to compare with her?
How can something interesting not be transmitted?
One must have the eye to discover beauty.
A flower should be painted with only seven stamens and three sepals;
New buds should be executed with dots like pepper,
The tip of the branch must be painted like a rat's tail.
Light and dark ink are applied
For showing the branches in three layers of ink tones.
Flowers should be depicted with front and back sides
While buds are painted in various shapes.
You already comprehend the secret of this art,
If I repeat this method, my words become verbose.
Whose family will have your painting on a screen?
My poem may be used to explain your art.
Kang Jie’an seemed not to comprehend my poem, but Xu Meigu asked me for another poem on the same subject, so I wrote the following:
Dark ink is used for the blossoming branches,
Light ink is used for the tip of the branches.
The old trunk with scales and wrinkles should be painted
With slightly dark and dry ink.
The flower petals can be depicted with three strokes
Separately drawn but still connected.
Pepper dots used to show the new buds should be drawn like pearls.
Strokes fine as bee whiskers are painted around the heart of the flower
Like a smiling face with a dimple,
The long branch tip is executed with a stroke
Steadily dragged like a rat's tail.
Painting the plum blossoms in the wind,
All the flowers should be moving in the same direction.
Half the branch may be covered with snow
When painting the plum in this guise,
The plum blossoms must be arranged properly
When painted together with pine and bamboo.
When flowers are depicted floating on the water,
Make them seem to dance and toss.
When painting evening scenery, accompany it with the bright moon.
Besides long and short bridges,
Plum blossoms may be arranged along clear shallow mountain streams.
A group of blossoming branches painted close to each other
Seem to have a clamorous and cheerful feeling;
Branches depicted back-to-back quietly
Display a listless expression.
Although the brushwork of a painting is distinctively finished,
It is obviously more than just brushstrokes;
On a scroll, the vertical and horizontal lines are not merely drawing.
[Looking at a painting] one will feel the room
Filling with the atmosphere of springtime,
Or recall passing through plum blossoms in the rain.
From beginning to end, Yang and Tang's methods should be followed;
Continue studying hard; how can skill be mastered in just a day?
I wrote the following for the bamboo painter Wang Cuiyan, who asked for a poem on this subject:
The most ancient paintings showed objects without definite forms,
Then forms were depicted closely following the actual objects.
People later followed the methods of early masters,
Tracing their footprints as though stamping a seal on clay.
But a close copy is like building the same house upon another,
When new ideas are added the work is more satisfying.
It has been several hundred years since the Wei and Jin dynasties.
Who can carry on the calligraphic tradition of Wang Xizhi and Wang Xianzhi?
People nowadays forget the poetry of Li Bai and Du Fu.
They are eager to study the new style of the Jianghu school.
I hope you can plant a thousand acres of bamboo
Like those growing along the Wei River;
After a meal you can relax and take a walk.
All the phenomena of bamboo in wind, in clear weather, in mist and in rain
Will be within your heart,
The luxuriant and upright nature of bamboo
Will come forth freely from your brush.
Oh, how common Zizhang looks when Yuan Dafu appears!
These three poems may be seen as a treatise on plum and bamboo painting. However, those who do not have poetry in their hearts will be confounded when they see these poems. Several months after Cuiyan received my poem, he suddenly came to ask me: "What I requested was a poem on bamboo painting, why did you write about the poems of Li Bai and Du Fu?" I answered with a laugh, "This is not beyond your understanding. It's only that no one has ever told you about it. Have you not heard the words: "If you restrict your theme, you can not be a good poet'?" My cousin Huangfu, who has been studying here with me, learned that I had composed these poems, and he delightedly asked me to write them down. I worry that I too may not have a poetic nature and will also be confounded. Those who understand poetry may correct me. I am old now and do not wish to say too much.
Written by Zhao Mengjian, Zigu, Yizhai Jushi of the royal family under the light of a candle at ten o'clock on the sixth day of the tenth month, the first year of the Jingding era [1260]. I am now staying with the Wang family of Salt Bridge [in Hangzhou].[1]
里中康節菴畫墨梅求詩，因述本末以示之。子固
逃禪祖花光, 得其韻度之清麗； 間菴紹逃禪, 得其蕭散之布置。
回觀玉面而鼠鬚，已自工夫較精緻。
枝枝例作鹿角曲，生意由來端若爾。
所傳正統諒末節，捨此的傳皆偽耳。
僧定花工枝則粗，夢良[貴字點去]意到工則未。
女[兒字點去]中卻有鮑夫人，能守師繩不輕墜。
可憐聞名未識面，云有江西畢公濟。
季衡醜粗惡拙祖，弊到雪蓬觴濫矣。
所恨二王無臣法，多少東鄰擬西子。
是中有趣豈不傳，要以眼力求其旨。
踢鬚止七蕚則三，點眼名椒梢鼠尾。
枝分三疊墨濃澹，花有正背多般蘂。
夫君固已悟筌蹄，重說偈言吾亦贅。
誰家屏幛得君畫，更以吾詩疏其底。
康不領此詩也, 又有許梅谷者仍求, 又賦長律。
濃寫花枝澹寫梢，鱗皴老榦墨微燋。
筆分三踢攢成瓣，珠暈一圓工點椒。
糝缀蜂鬚凝笑靨，穩拖鼠尾施長條。
盡吹心側風初急，猶把枝埋雪半銷。
松竹襯時明掩映，水波浮處見飄颻。
黃昏時候朧明月，清淺谿山長短橋。
鬧裏相挨如有意，靜中背立見無聊。
筆端的瀝明非畫，軸上縱橫不是描。
頓覺坐成春盎[缺一字]，因思行過雨瀟瀟。
從頭摠是揚湯法，拚下工夫豈一朝 。
王翠巌寫竹求詩，亦與。
古畫畫物無定形，隨物賦形皆迫真。
其次祖述有師繩，如印印泥隨前人。
尚疑屋下重作屋，參以新意意乃足。
晉魏而成幾百年，羲獻斷弦誰解續。
何况高束李杜編，江湖競買新詩讀。
願君種取渭川一千畝，飽飯逍遙步捫腹。
風晴烟雨盡入君心胸，吐出毫端自森肅。
員大夫來子章何碌碌。
三詩蓋梅竹譜也, 然胸中無詩者見之捍格。翠巌得詩後數月忽問余曰:“所求畫竹詩耳, 乃及李、杜編，何也？”余笑曰：“非君不解, 世無人為君言耳。‘作詩必此詩, 定非能詩人。’不聞此語耶？”皇甫表工學於斯, 聞余詩欣然求書, 正恐胸中無詩種, 又捍格也。識者為余一撥, 余老不事多言云。景定元禩良月六日, 所寓邸乃鹽橋王氏家, 二鼓燭下書諸。王孫趙孟堅子固彝齋居士記。
Artist’s seals
Mengjian 孟堅
Zigu 子固
Yizhai 彜齋
[1] Translation from Kwan S. Wong and Stephen Addiss, Masterpieces of Song and Yuan Dynasty Calligraphy from the John C. Crawford Jr. Collection. Exh. cat. New York: China Institute in America, 1981, pp. 52–57, cat. no. 9. Modified.
identifier
40285
Source
https://www.metmuseum.org/art/collection/search/40285
Creator
Zhao Mengjian
趙孟堅
趙孟堅
annotates
Colophons[2]
1. Xiang Yuanbian 項元汴 (1525−1590), 1 character in standard script (inventory mark):
Yu 禦
2. Qian Yingsun 錢應孫 (1227−1291), 17 columns in semi-cursive script, dated 1288; 3 seals:
Zigu (Zhao Mengjian) was my oldest friend. The poems and paintings I received from him are more than those from others. In the bingchen year of the Baoyou reign era (1256), he and Zhengweng (Dong Kai董楷, 1226−ca. 1268) collated calligraphic works up to scores of sheets of paper. I perused them fondly, unable to put them aside. Then I made copies under lamplight and finished all the pieces overnight. At daybreak, Zigu, filled with surprise and delight, picked up a brush and wrote a colophon of almost two thousand words. I lost my collection after the war, and the two gentlemen passed away too. One day Huangfu Zichang visited me in Shanyin (Shaoxing, Zhejiang Province) and showed me Zigu’s Poems on Painting Plum Blossoms and Bamboo scroll with Zhengweng’s colophon on it, which Zigu gave him in the gengshen year of the Jingding reign era (1260). I read it over and over again, feeling as if seeing their faces. Zichang was actually Zigu’s cousin, while Zhengweng was my wife’s brother. Overjoyed as if seeing them in person, I sighed again and recorded my feeling here. Twenty-nine years later, in the mid-summer of the wuzi year (1288), Qian Yingsun, Dingzhi, from Bianyang wrote this. [Seals]: Qian Yingsun yin, Juquan, Shulin
僕與子固交最蚤, 得子固詩章畫墨尤夥。寶祐丙辰子固與正翁校書法，累數十紙, 僕把玩不釋手, 於是篝鐙摹蹋，一夕而竟。厥明, 子固驚喜, 援筆成跋, 幾二千言。兵後所藏散失, 而二君亦已矣。一日皇甫子昌訪僕山陰，袖出子固景定庚申所贈梅竹詩譜及正翁跋語，三復之餘, 如見顏色。子昌實子固中表，正翁實僕內兄弟, 見似人而喜，於焉乃重為感慨云。後二十九年戊子中夏汴陽錢應孫定之父書。 [印]：錢應孫印、菊泉、書林
3. Zhao Mengying 趙孟濚 (d. 1277), 29 columns in semi-cursive script, dated 1268; 4 seals:
Painting is said to be “soundless poetry,” in which the virtuous and the wise express their mind. It can be divided into the divine and the skillful classes. Painters of the divine class are talented with lofty vision. Wielding the brush spontaneously, they are born with the ability to paint. Painters of the skillful class follow established traditions. Using the brush with prescribed methods, they learn how to paint.
My fraternal cousin Yizhai (Zhao Mengjian) was born intelligent and had a lofty character. In addition to literary compositions and calligraphy, he amused himself with brush and ink to paint various flowers. From his swiftly moving brush, flowers emerged in pure and high spirit. They are vivid marvels that belong to the divine class. In the spring of the yimao year (1255), Zichang arrived from Piling [in Jiangsu Province], and Yizhai kept him to help with scholarly pursuits. Out of affectionate admiration, he took Yizhai as his mentor. Through verbal instruction and brush demonstration, he emulated his art without a break. In the autumn that year, as Yizhai joined the staff of Master Huo [Jia Sidao賈似道, 1213−1275], Zichang left to take residence in Gao Wenchang’s Yanyu Lou Studio. There he lived elegantly in leisure and practiced art regularly. As his hand responded to what his mind understood, his art gradually advanced into a higher realm. A few years later, Yizhai praised it for its refinement. Wouldn’t Zichang be the one who succeeds in transmitting Zigu’s legacy! Although Yizhai has passed away, Zichang is making progress every day and feel exhilarated when his works appear comparable. He brought Yizhai’s poetry scroll on painting methods over and asked me to write a few words. I greatly admire his firm determination and hope his art will transcend the skillful class, so I am quoting Master Shangu’s (Huang Tingjian黃庭堅, 1045−1105) inscription on a painting by Danian ( Zhao Lingrang趙令穰, active ca. 1070–1100) of the [Song] imperial family, “Danian learned from Dongpo ( Su Shi蘇軾, 1037−1101) in depicting bamboo and rocks. His paintings have a particular thoughtful nuance but the brushwork feels soft, which is due to his young age. When Danian gets old, his works will be ten times better than those of today.” These are insightful remarks. May Zichang keep them in mind to spur himself on. In the mid-autumn of the wuchen year of the Xianchun reign era (1268) Zhao Mengying inscribed. [Seals]: Junze, Fangzhou, Zhizhai, Yanyi wang Gongji Xiaokang wang Zhongwei zhi yi
畫謂之“無聲詩”，迺賢哲之寄興, 有神品、有能品。神者才識清高, 揮毫自逸, 生而知之者也。能者源流傳授, 下筆有法，學而知之者也。
伯氏彝齋天姿穎悟, 人品既高, 以其文章、書法之緒餘遊戲翰墨, 為眾芳寫生, 運筆如飛, 氣韻清拔, 生動造妙, 其入神品者乎。乙卯春子昌至自毘陵, 彝齋留侍筆研, 欽慕師事, 口授筆傳, 摹倣弗釋。是秋彝齋遊壑翁閫幕, 子昌改館于高文長之煙雨[缺樓字]，優游閑雅, 時而習之, 心得手應, 漸入佳趣，後數年彝齋獎之曰工，於斯傳子固之餘芳者, 其子昌乎。彝齋已矣, 子昌之筆日進, 見似之者而喜。子昌袖彝齋畫法詩卷, 求余著語，余深嘉其志之篤, 欲勉其藝之精超乎能品，援山谷先生題宗室大年畫卷云：“大年學東坡作竹石, 殊有思致, 筆意覺柔，年少故耳。使大年耆老，自當十倍於今。”精義入神, 子昌勉諸。[咸]淳[戊]辰中秋趙孟濚題。 [印]：君澤、芳洲、直齋、燕懿王宮冀孝康王中位之裔
4. Dong Kai 董楷 (1226−ca. 1268), 9 columns in semi-cursive script, dated 1268; 4 seals:
In the past, Li Boshi’s (Li Gonglin李公麟, ca. 1041–1106) younger cousin Qiao Zhongchang (11th−12th c.) learned painting from him in person and became a painter of the skillful class. Nowadays Qiao’s works are rarely seen and their value is barely lower than Longmian’s (Li Gonglin). When the mind is kept from distraction, concentration will lead to the divine. May Zichang encourage himself with this. Zichang is young and full of aspiration. Through deep exploration he will achieve self-realization and become a master of his own. There is no need to take the Li-Qiao association as a model. In the tenth month of the wuchen year of the Xianchun reign era (1268) Dong Kai from Tiantai [in Zhejiang Province] made this note. [Seals]: Tiantai Dong Kai, Zhongzhai, Dong Zhengweng yin, Zhongfeng Dong shi
昔李伯時表弟喬仲常親受筆法, 遂入能品。今喬筆世甚罕有，其貴重殆不減龍眠， 用志不分, 乃凝於神。子昌勉之哉。子昌年少志銳，深造而自得之, 自成一家可也。
李、喬之事又何足尚云。咸淳戊辰良月天台董楷識。 [印]：天台董楷、仲齋、董正翁印、中峰董氏
5. Zhao Mengchun 趙孟淳 (active mid-13th c.), 19 columns in semi-cursive script, dated 1268; 3 seals:
In my childhood I kept company with my elder brother Yizhai, and saw that, upon getting small hanging scrolls by Taochan (Yang Buzhi揚補之, 1097–1171) and handscrolls by Xian’an (Tang Zhengzhong湯正仲, Yang’s nephew), he would constantly roll and unroll them for viewing. That’s how he fully grasped the wonder of Yang’s and Tang’s art. My late brother loved book-learning. No matter what he did, he would not stop until he had reached the finest stage. He was interested in brush and ink throughout his life. Other than that, he had no worldly interest at all. If someone focuses his mind on something, he will become skillful at it, and skillfulness leads to refinement. How could latecomers achieve this! My paintings of “this gentleman” [bamboo] had always received Yizhai’s praise. Although I followed the methods of Wen Tong文同 (1018–1079) and Su Shi蘇軾 (1037–1101), my brushwork actually derived from Yizhai. Cousin Huangfu used to keep company with Yizhai, and that is the origin of his painting. My late brother is gone. I hope you will keep it up. Written in the Qingyuan Lou Studio on the day of “slight heat” [variously on July 6–8] in the wuchen year of the Xianchun reign era (1268). [Signed] Zhusuo, Zhao Mengchun, Zizhen [Seals]: Zhusuo, Zizhen, Xuxian Yesou
余幼年侍彝齋兄遊，見其得逃禪小軸及閒菴橫卷，捲舒坐臥未嘗去手, 是以盡得楊湯之妙。先兄好學耽書, 每作一事, 不造其精處則不已也。平生留意翰墨，之外它無一毫世俗好。志之專必[功字點去]工，工必精，此豈晚學之所能哉！余作此君, 彝齋兄每亦許之, 雖法文、蘇，然筆意之傳實自彝齋兄。皇甫表昔侍彝齋遊, 所作蓋有源流, 先兄已矣, 君其勉之。咸淳戊辰小暑日書于清遠樓。竹所趙孟淳子真 [印]：竹所、子真、虛閑野叟
6. Ye Longli 葉隆禮 (jinshi degree 1247), 18 columns in semi-cursive script, dated 1267; 1 seal:
My friend Zhao Zigu (Zhao Mengjian), a descendant of the imperial family, had the flair of people of the Jin (266–420) and Song (420–479) dynasties. In his youth he practiced calligraphy and painting and was fond of orchid as a subject. He often carried brush and inkstone with him while drinking or appreciating flowers. When asked for paintings by people, he complied without grudging. As his works were usually easy to get and plenty to keep, people did not treasure them. In old age, he retreated into Chan Buddhism and became skillful in depicting plum blossoms and bamboo, which were vividly life-like. When I returned from Jiangyou [Jiangxi], I had attained certain insight into Chan-inspired brushwork. I was about to show Zigu my works for his advice, but he had passed away. Townsmen said that the reputation and the price of Zigu’s works had jumped so much recently that a small piece could fetch hundreds or thousands of cash. I dared not believe it. One day a bookseller brought a few pieces to my place, and that news turned out to be true. Isn’t it that people do not value what they have but value what they do not have! Mr. Huangfu is a follower of Zigu’s. He showed me a genuine scroll by Zigu of collected remarks on painting and a painting of orchids by himself. I was overjoyed to view them, but also sighed that there wouldn’t be more works from Zigu and it was good enough to get something close to Zigu’s. May Mr. Huangfu keep up his pursuit. Longli wrote this in the Chunyong Tang Studio on the last day of the fifth month in the dingmao year of the Xianchun reign era (June 23, 1267). [Seal]: Ye Longli Shize fu
吾友趙子固以諸王孫負晉、宋間標韻。少遊戲翰墨, 愛作蕙蘭, 酒邊花下, 率以筆硯自隨。人求畫，與無斳色, 往往得之易, 藏之多, 人亦未之寶也。晚年步驟逃禪, 工梅竹, 咄咄逼真。予自江右歸, 頗悟逃禪筆意, 將與之是正, 而子固死矣。鄉人云子固近日聲價頓偉, 片紙可直百千。予未敢謂信。一日鬻書者攜數紙來少室, 果印所聞，豈人情不貴於所有, 而貴於所無耶！皇甫君步驟子固者也, 出子固論畫真蹟一卷及其所自作蕙蘭, 躍然而觀, 感慨係之, 吁子固不可作矣, 得彷彿子固者斯可矣。皇甫君其勉之。咸淳丁卯五月晦日隆禮書于春詠堂。 [印]：葉隆禮士則父
7. Wu Liangcai 吳亮采 (early 14th c.), 28 columns in semi-cursive script, dated 1301; 3 seals:
余兒時在鄉里斛峯先生齋中見墨蘭數本，筆法飄逸可愛，知有浙右趙子固名矣。所恨其時未知此趣, 不能鑑賞。及長大，宦遊四方, 於江西士友間多見楊逃禪
畢公濟墨跡遊戲，天真清絕，令人意消。及來禾興, 知子固為邦人, 深切自喜,
首問其喬木故家, 則渺然無處詢訪。禾興為郡, 為浙右最陋邦，以財雄酒色相尚, 而好古博雅者絕無其人。抱璞荊山, 至寶橫道，可重太息。賴有別駕息齋李侯, 中原毓秀, 為方今天下名人。公餘得遊，從論書畫, 足以破除塵俗。然侯止留心於竹, 不甚及他品為悵。一日有皇甫秀才相過, 形神骯髒, 語言如泉, 絕不類秀人, 自言能畫水仙、梅、蘭，問知為子固表弟, 毘陵寓客也。得子固親傳, 妙處往往過之，青出於藍。與余論畫中三昧, 無不中鏑, 因出子固傳授詩翰一卷示余, 咄咄逼人，豈鄭虔三絕足以並，其有自來矣, 是可寶之。借觀逾旬, 不忍去手。余謂子固不特畫蘭、水仙為古今第一, 若書若詩, 皆入能品，豈學力可到耶 ！噫 ！吾雖不飲酒 ，知酒莫如我也。余嘗同皇甫君遊, 俱徒步市中, 但見其精彩皪人，步履如飛, 問其年，曰七十有三，矍鑠哉。是翁也，抑真水仙中人乎。喜之不足，特為書相見本末于卷尾，以還他時瀛洲會上、水晶宮中, 婆娑政坐諸君耳。解后拈起此段公案, 亦足以相顧一笑也。大德五年歲在辛[卯字點去]丑月建卯，鄱陽吳亮采熙載書于嘉興官寓之集雅堂。 [印]：亮采、松石、鄱陽吳氏
8. Zhang Yuqing 張宇清 (1364−after 1424), 13 columns in semi-cursive script, dated 1424; 3 seals:
大嶽太和山淨樂宮提點竹隱趙公博雅好古，藏其宗中之長者故元趙子固、子真、子瀠，及句曲天雨張外史、淛之名士董楷輩所作戲墨詩跋一卷。予時奉旨使本宮, 竹隱求為識之, 展玩屢日, 不欲去手。惟宋文運最興, 而子固諸昆皆承宗室孟字傳號之裔, 與元松雪趙文敏公同派, 悉能一屏侈習, 或作為翰墨, 或發為詩章，則清妙絕塵, 自有一種王孫意氣。金玉標姿, 豈世俗所可企及也。今竹隱為方外士, 猶能守其家世, 善珍襲之, 抑賢矣哉！故書以復其請云。時永樂廿二年甲辰歲七月朔日，正一嗣教清虛沖素光祖演道真人、領道教事、四十四代天師、西璧翁張宇清書。
予與竹隱同庚, 時年皆六十一矣, 而予目眚手顫, 不能成書, 因筆及之。 [印]：西璧、四十四代天師章、潛碧軒
[2] Translations by Shi-yee Liu.
1. Xiang Yuanbian 項元汴 (1525−1590), 1 character in standard script (inventory mark):
Yu 禦
2. Qian Yingsun 錢應孫 (1227−1291), 17 columns in semi-cursive script, dated 1288; 3 seals:
Zigu (Zhao Mengjian) was my oldest friend. The poems and paintings I received from him are more than those from others. In the bingchen year of the Baoyou reign era (1256), he and Zhengweng (Dong Kai董楷, 1226−ca. 1268) collated calligraphic works up to scores of sheets of paper. I perused them fondly, unable to put them aside. Then I made copies under lamplight and finished all the pieces overnight. At daybreak, Zigu, filled with surprise and delight, picked up a brush and wrote a colophon of almost two thousand words. I lost my collection after the war, and the two gentlemen passed away too. One day Huangfu Zichang visited me in Shanyin (Shaoxing, Zhejiang Province) and showed me Zigu’s Poems on Painting Plum Blossoms and Bamboo scroll with Zhengweng’s colophon on it, which Zigu gave him in the gengshen year of the Jingding reign era (1260). I read it over and over again, feeling as if seeing their faces. Zichang was actually Zigu’s cousin, while Zhengweng was my wife’s brother. Overjoyed as if seeing them in person, I sighed again and recorded my feeling here. Twenty-nine years later, in the mid-summer of the wuzi year (1288), Qian Yingsun, Dingzhi, from Bianyang wrote this. [Seals]: Qian Yingsun yin, Juquan, Shulin
僕與子固交最蚤, 得子固詩章畫墨尤夥。寶祐丙辰子固與正翁校書法，累數十紙, 僕把玩不釋手, 於是篝鐙摹蹋，一夕而竟。厥明, 子固驚喜, 援筆成跋, 幾二千言。兵後所藏散失, 而二君亦已矣。一日皇甫子昌訪僕山陰，袖出子固景定庚申所贈梅竹詩譜及正翁跋語，三復之餘, 如見顏色。子昌實子固中表，正翁實僕內兄弟, 見似人而喜，於焉乃重為感慨云。後二十九年戊子中夏汴陽錢應孫定之父書。 [印]：錢應孫印、菊泉、書林
3. Zhao Mengying 趙孟濚 (d. 1277), 29 columns in semi-cursive script, dated 1268; 4 seals:
Painting is said to be “soundless poetry,” in which the virtuous and the wise express their mind. It can be divided into the divine and the skillful classes. Painters of the divine class are talented with lofty vision. Wielding the brush spontaneously, they are born with the ability to paint. Painters of the skillful class follow established traditions. Using the brush with prescribed methods, they learn how to paint.
My fraternal cousin Yizhai (Zhao Mengjian) was born intelligent and had a lofty character. In addition to literary compositions and calligraphy, he amused himself with brush and ink to paint various flowers. From his swiftly moving brush, flowers emerged in pure and high spirit. They are vivid marvels that belong to the divine class. In the spring of the yimao year (1255), Zichang arrived from Piling [in Jiangsu Province], and Yizhai kept him to help with scholarly pursuits. Out of affectionate admiration, he took Yizhai as his mentor. Through verbal instruction and brush demonstration, he emulated his art without a break. In the autumn that year, as Yizhai joined the staff of Master Huo [Jia Sidao賈似道, 1213−1275], Zichang left to take residence in Gao Wenchang’s Yanyu Lou Studio. There he lived elegantly in leisure and practiced art regularly. As his hand responded to what his mind understood, his art gradually advanced into a higher realm. A few years later, Yizhai praised it for its refinement. Wouldn’t Zichang be the one who succeeds in transmitting Zigu’s legacy! Although Yizhai has passed away, Zichang is making progress every day and feel exhilarated when his works appear comparable. He brought Yizhai’s poetry scroll on painting methods over and asked me to write a few words. I greatly admire his firm determination and hope his art will transcend the skillful class, so I am quoting Master Shangu’s (Huang Tingjian黃庭堅, 1045−1105) inscription on a painting by Danian ( Zhao Lingrang趙令穰, active ca. 1070–1100) of the [Song] imperial family, “Danian learned from Dongpo ( Su Shi蘇軾, 1037−1101) in depicting bamboo and rocks. His paintings have a particular thoughtful nuance but the brushwork feels soft, which is due to his young age. When Danian gets old, his works will be ten times better than those of today.” These are insightful remarks. May Zichang keep them in mind to spur himself on. In the mid-autumn of the wuchen year of the Xianchun reign era (1268) Zhao Mengying inscribed. [Seals]: Junze, Fangzhou, Zhizhai, Yanyi wang Gongji Xiaokang wang Zhongwei zhi yi
畫謂之“無聲詩”，迺賢哲之寄興, 有神品、有能品。神者才識清高, 揮毫自逸, 生而知之者也。能者源流傳授, 下筆有法，學而知之者也。
伯氏彝齋天姿穎悟, 人品既高, 以其文章、書法之緒餘遊戲翰墨, 為眾芳寫生, 運筆如飛, 氣韻清拔, 生動造妙, 其入神品者乎。乙卯春子昌至自毘陵, 彝齋留侍筆研, 欽慕師事, 口授筆傳, 摹倣弗釋。是秋彝齋遊壑翁閫幕, 子昌改館于高文長之煙雨[缺樓字]，優游閑雅, 時而習之, 心得手應, 漸入佳趣，後數年彝齋獎之曰工，於斯傳子固之餘芳者, 其子昌乎。彝齋已矣, 子昌之筆日進, 見似之者而喜。子昌袖彝齋畫法詩卷, 求余著語，余深嘉其志之篤, 欲勉其藝之精超乎能品，援山谷先生題宗室大年畫卷云：“大年學東坡作竹石, 殊有思致, 筆意覺柔，年少故耳。使大年耆老，自當十倍於今。”精義入神, 子昌勉諸。[咸]淳[戊]辰中秋趙孟濚題。 [印]：君澤、芳洲、直齋、燕懿王宮冀孝康王中位之裔
4. Dong Kai 董楷 (1226−ca. 1268), 9 columns in semi-cursive script, dated 1268; 4 seals:
In the past, Li Boshi’s (Li Gonglin李公麟, ca. 1041–1106) younger cousin Qiao Zhongchang (11th−12th c.) learned painting from him in person and became a painter of the skillful class. Nowadays Qiao’s works are rarely seen and their value is barely lower than Longmian’s (Li Gonglin). When the mind is kept from distraction, concentration will lead to the divine. May Zichang encourage himself with this. Zichang is young and full of aspiration. Through deep exploration he will achieve self-realization and become a master of his own. There is no need to take the Li-Qiao association as a model. In the tenth month of the wuchen year of the Xianchun reign era (1268) Dong Kai from Tiantai [in Zhejiang Province] made this note. [Seals]: Tiantai Dong Kai, Zhongzhai, Dong Zhengweng yin, Zhongfeng Dong shi
昔李伯時表弟喬仲常親受筆法, 遂入能品。今喬筆世甚罕有，其貴重殆不減龍眠， 用志不分, 乃凝於神。子昌勉之哉。子昌年少志銳，深造而自得之, 自成一家可也。
李、喬之事又何足尚云。咸淳戊辰良月天台董楷識。 [印]：天台董楷、仲齋、董正翁印、中峰董氏
5. Zhao Mengchun 趙孟淳 (active mid-13th c.), 19 columns in semi-cursive script, dated 1268; 3 seals:
In my childhood I kept company with my elder brother Yizhai, and saw that, upon getting small hanging scrolls by Taochan (Yang Buzhi揚補之, 1097–1171) and handscrolls by Xian’an (Tang Zhengzhong湯正仲, Yang’s nephew), he would constantly roll and unroll them for viewing. That’s how he fully grasped the wonder of Yang’s and Tang’s art. My late brother loved book-learning. No matter what he did, he would not stop until he had reached the finest stage. He was interested in brush and ink throughout his life. Other than that, he had no worldly interest at all. If someone focuses his mind on something, he will become skillful at it, and skillfulness leads to refinement. How could latecomers achieve this! My paintings of “this gentleman” [bamboo] had always received Yizhai’s praise. Although I followed the methods of Wen Tong文同 (1018–1079) and Su Shi蘇軾 (1037–1101), my brushwork actually derived from Yizhai. Cousin Huangfu used to keep company with Yizhai, and that is the origin of his painting. My late brother is gone. I hope you will keep it up. Written in the Qingyuan Lou Studio on the day of “slight heat” [variously on July 6–8] in the wuchen year of the Xianchun reign era (1268). [Signed] Zhusuo, Zhao Mengchun, Zizhen [Seals]: Zhusuo, Zizhen, Xuxian Yesou
余幼年侍彝齋兄遊，見其得逃禪小軸及閒菴橫卷，捲舒坐臥未嘗去手, 是以盡得楊湯之妙。先兄好學耽書, 每作一事, 不造其精處則不已也。平生留意翰墨，之外它無一毫世俗好。志之專必[功字點去]工，工必精，此豈晚學之所能哉！余作此君, 彝齋兄每亦許之, 雖法文、蘇，然筆意之傳實自彝齋兄。皇甫表昔侍彝齋遊, 所作蓋有源流, 先兄已矣, 君其勉之。咸淳戊辰小暑日書于清遠樓。竹所趙孟淳子真 [印]：竹所、子真、虛閑野叟
6. Ye Longli 葉隆禮 (jinshi degree 1247), 18 columns in semi-cursive script, dated 1267; 1 seal:
My friend Zhao Zigu (Zhao Mengjian), a descendant of the imperial family, had the flair of people of the Jin (266–420) and Song (420–479) dynasties. In his youth he practiced calligraphy and painting and was fond of orchid as a subject. He often carried brush and inkstone with him while drinking or appreciating flowers. When asked for paintings by people, he complied without grudging. As his works were usually easy to get and plenty to keep, people did not treasure them. In old age, he retreated into Chan Buddhism and became skillful in depicting plum blossoms and bamboo, which were vividly life-like. When I returned from Jiangyou [Jiangxi], I had attained certain insight into Chan-inspired brushwork. I was about to show Zigu my works for his advice, but he had passed away. Townsmen said that the reputation and the price of Zigu’s works had jumped so much recently that a small piece could fetch hundreds or thousands of cash. I dared not believe it. One day a bookseller brought a few pieces to my place, and that news turned out to be true. Isn’t it that people do not value what they have but value what they do not have! Mr. Huangfu is a follower of Zigu’s. He showed me a genuine scroll by Zigu of collected remarks on painting and a painting of orchids by himself. I was overjoyed to view them, but also sighed that there wouldn’t be more works from Zigu and it was good enough to get something close to Zigu’s. May Mr. Huangfu keep up his pursuit. Longli wrote this in the Chunyong Tang Studio on the last day of the fifth month in the dingmao year of the Xianchun reign era (June 23, 1267). [Seal]: Ye Longli Shize fu
吾友趙子固以諸王孫負晉、宋間標韻。少遊戲翰墨, 愛作蕙蘭, 酒邊花下, 率以筆硯自隨。人求畫，與無斳色, 往往得之易, 藏之多, 人亦未之寶也。晚年步驟逃禪, 工梅竹, 咄咄逼真。予自江右歸, 頗悟逃禪筆意, 將與之是正, 而子固死矣。鄉人云子固近日聲價頓偉, 片紙可直百千。予未敢謂信。一日鬻書者攜數紙來少室, 果印所聞，豈人情不貴於所有, 而貴於所無耶！皇甫君步驟子固者也, 出子固論畫真蹟一卷及其所自作蕙蘭, 躍然而觀, 感慨係之, 吁子固不可作矣, 得彷彿子固者斯可矣。皇甫君其勉之。咸淳丁卯五月晦日隆禮書于春詠堂。 [印]：葉隆禮士則父
7. Wu Liangcai 吳亮采 (early 14th c.), 28 columns in semi-cursive script, dated 1301; 3 seals:
余兒時在鄉里斛峯先生齋中見墨蘭數本，筆法飄逸可愛，知有浙右趙子固名矣。所恨其時未知此趣, 不能鑑賞。及長大，宦遊四方, 於江西士友間多見楊逃禪
畢公濟墨跡遊戲，天真清絕，令人意消。及來禾興, 知子固為邦人, 深切自喜,
首問其喬木故家, 則渺然無處詢訪。禾興為郡, 為浙右最陋邦，以財雄酒色相尚, 而好古博雅者絕無其人。抱璞荊山, 至寶橫道，可重太息。賴有別駕息齋李侯, 中原毓秀, 為方今天下名人。公餘得遊，從論書畫, 足以破除塵俗。然侯止留心於竹, 不甚及他品為悵。一日有皇甫秀才相過, 形神骯髒, 語言如泉, 絕不類秀人, 自言能畫水仙、梅、蘭，問知為子固表弟, 毘陵寓客也。得子固親傳, 妙處往往過之，青出於藍。與余論畫中三昧, 無不中鏑, 因出子固傳授詩翰一卷示余, 咄咄逼人，豈鄭虔三絕足以並，其有自來矣, 是可寶之。借觀逾旬, 不忍去手。余謂子固不特畫蘭、水仙為古今第一, 若書若詩, 皆入能品，豈學力可到耶 ！噫 ！吾雖不飲酒 ，知酒莫如我也。余嘗同皇甫君遊, 俱徒步市中, 但見其精彩皪人，步履如飛, 問其年，曰七十有三，矍鑠哉。是翁也，抑真水仙中人乎。喜之不足，特為書相見本末于卷尾，以還他時瀛洲會上、水晶宮中, 婆娑政坐諸君耳。解后拈起此段公案, 亦足以相顧一笑也。大德五年歲在辛[卯字點去]丑月建卯，鄱陽吳亮采熙載書于嘉興官寓之集雅堂。 [印]：亮采、松石、鄱陽吳氏
8. Zhang Yuqing 張宇清 (1364−after 1424), 13 columns in semi-cursive script, dated 1424; 3 seals:
大嶽太和山淨樂宮提點竹隱趙公博雅好古，藏其宗中之長者故元趙子固、子真、子瀠，及句曲天雨張外史、淛之名士董楷輩所作戲墨詩跋一卷。予時奉旨使本宮, 竹隱求為識之, 展玩屢日, 不欲去手。惟宋文運最興, 而子固諸昆皆承宗室孟字傳號之裔, 與元松雪趙文敏公同派, 悉能一屏侈習, 或作為翰墨, 或發為詩章，則清妙絕塵, 自有一種王孫意氣。金玉標姿, 豈世俗所可企及也。今竹隱為方外士, 猶能守其家世, 善珍襲之, 抑賢矣哉！故書以復其請云。時永樂廿二年甲辰歲七月朔日，正一嗣教清虛沖素光祖演道真人、領道教事、四十四代天師、西璧翁張宇清書。
予與竹隱同庚, 時年皆六十一矣, 而予目眚手顫, 不能成書, 因筆及之。 [印]：西璧、四十四代天師章、潛碧軒
[2] Translations by Shi-yee Liu.
Abstract
Collectors' seals
Xiang Yuanbian 項元汴 (1525−1590)
Xiang Zijing jia zhencang 項子京家珍藏
Xulang Zhai 虛朗齋
Molin miwan 墨林祕玩
Ji ao 寄敖
Molin zi 墨林子
Zisun shichang 子孫世昌
Tui mi 退密
Zijing fu 子京父
Zijing fu yin 子京父印
Xiang Molin jianshang zhang 項墨林鑒賞章
Molin Xiang jizi zhang 墨林項季子章
Zijing 子京
Zijing suocang 子京所藏
Zisun yongbao 子孫永保
Xiang Molin fu miji zhi yin 項墨林父祕笈之印
Ju Ni zhi chou 沮溺之儔
Molin zhuren 墨林主人
Pingsheng zhenshang 平生真賞
Molin yan pi 墨林硯癖
Zuili Xiang shi shijia baowan 檇李項氏士家寳玩
Shenyou xinshang 神游心賞
You he buke 有何不可
Xichou geng nou 西疇耕耨
Xiang Yuanbian yin 項元汴印
Xiang shi Zijing 項氏子京
Molin Shanren 墨林山人
Xiang shuzi 項叔子
Molin 墨林
Xiang shi Zijing 項氏子京
Liuyi zhi pu 六藝之圃
Xiangyan Jushi 香岩居士
Picha Jushi 癖茶居士
Gongbao shijia 宮保世家
Molin Waishi 墨林外史
Molin 墨林
Ruoshui Xuan 若水軒
Shiwai fabao 世外法寶
Huiquan Shanqiao 惠泉山樵
Yuanyang Hu zhang 鴛鴦湖長
Huixin chu 會心處
Xiang Shengmo 項聖謨 (1597−1658)
Xiang Shengmo yin 項聖謨印
Lantian 藍田
Kongzhang shi 孔彰氏
Kongzhang fu 孔彰父
Xi Chu wangsun 西楚王孫
Xiang Shengmo yin 項聖謨印
Xiang shi Kongzhang 項氏孔彰
Xiang Shengmo yin 項聖謨印
Zisun yongbao 子孫永保
Xiang shi Kongzhang 項氏孔彰
Huaiyu Xuan 懷玉軒
Zhongyu sheng 種玉生
Shengmo 聖謨
Kongzhang 孔彰
Quan ting gushi 泉亭古石
Bian Yongyu 卞永譽 (1645−1712)
Shigu Tang shuhua 式古堂書畫
Shigu Tang shuhua yin 式古堂書畫印
Shigu Tang 式古堂
Lingzhi 令之
Xianke 仙客
Xianke 仙客
Yongyu zhi yin 永譽之印
Lingzhi qingwan 令之清玩
Bian shi Lingzhi 卞氏令之
Qing emperor Qianlong 清帝乾隆 (r. 1736−1795)
Qianlong yulan zhi bao 乾隆御覽之寳
Shiqu baoji 石渠寳笈
Yu shufang jiancang bao 御書房鑒藏寳
Shiqu dingjian 石渠定鑒
Baoji chongbian 寳笈重編
Qianlong jianshang 乾隆鑒賞
Sanxi Tang jingjian xi 三希堂精鑒璽
Yi zisun 宜子孫
Qing emperor Jiaqing 清帝嘉慶 (r. 1796−1820)
Jiaqing yulan zhi bao 嘉慶御覽之寳
Qing emperor Xuantong 清帝宣統 (r. 1908−1911)
Xuantong jianshang 宣統鑒賞
Wuyi Zhai jingjian xi 無逸齋精鑒璽
Xuantong yulan zhi bao 宣統御覽之寳
Gu Luofu 顧洛阜 (John M. Crawford, Jr., 1913−1988)
Hanguang Ge zhu Gu Luofu jiancang Zhongguo gudai shuhua zhi zhang
漢光閣主顧洛阜鑒藏中國古代書畫之章
Gu Luofu 顧洛阜
Hanguang Ge 漢光閣
Unidentified
Kuang Zhai miwan 曠齋祕玩
Yu Yandu 俞延篤
Yu shuzi yin 俞叔子印
Yandu siyin 延篤私印
Mo chan 墨禪
Xiang Yuanbian 項元汴 (1525−1590)
Xiang Zijing jia zhencang 項子京家珍藏
Xulang Zhai 虛朗齋
Molin miwan 墨林祕玩
Ji ao 寄敖
Molin zi 墨林子
Zisun shichang 子孫世昌
Tui mi 退密
Zijing fu 子京父
Zijing fu yin 子京父印
Xiang Molin jianshang zhang 項墨林鑒賞章
Molin Xiang jizi zhang 墨林項季子章
Zijing 子京
Zijing suocang 子京所藏
Zisun yongbao 子孫永保
Xiang Molin fu miji zhi yin 項墨林父祕笈之印
Ju Ni zhi chou 沮溺之儔
Molin zhuren 墨林主人
Pingsheng zhenshang 平生真賞
Molin yan pi 墨林硯癖
Zuili Xiang shi shijia baowan 檇李項氏士家寳玩
Shenyou xinshang 神游心賞
You he buke 有何不可
Xichou geng nou 西疇耕耨
Xiang Yuanbian yin 項元汴印
Xiang shi Zijing 項氏子京
Molin Shanren 墨林山人
Xiang shuzi 項叔子
Molin 墨林
Xiang shi Zijing 項氏子京
Liuyi zhi pu 六藝之圃
Xiangyan Jushi 香岩居士
Picha Jushi 癖茶居士
Gongbao shijia 宮保世家
Molin Waishi 墨林外史
Molin 墨林
Ruoshui Xuan 若水軒
Shiwai fabao 世外法寶
Huiquan Shanqiao 惠泉山樵
Yuanyang Hu zhang 鴛鴦湖長
Huixin chu 會心處
Xiang Shengmo 項聖謨 (1597−1658)
Xiang Shengmo yin 項聖謨印
Lantian 藍田
Kongzhang shi 孔彰氏
Kongzhang fu 孔彰父
Xi Chu wangsun 西楚王孫
Xiang Shengmo yin 項聖謨印
Xiang shi Kongzhang 項氏孔彰
Xiang Shengmo yin 項聖謨印
Zisun yongbao 子孫永保
Xiang shi Kongzhang 項氏孔彰
Huaiyu Xuan 懷玉軒
Zhongyu sheng 種玉生
Shengmo 聖謨
Kongzhang 孔彰
Quan ting gushi 泉亭古石
Bian Yongyu 卞永譽 (1645−1712)
Shigu Tang shuhua 式古堂書畫
Shigu Tang shuhua yin 式古堂書畫印
Shigu Tang 式古堂
Lingzhi 令之
Xianke 仙客
Xianke 仙客
Yongyu zhi yin 永譽之印
Lingzhi qingwan 令之清玩
Bian shi Lingzhi 卞氏令之
Qing emperor Qianlong 清帝乾隆 (r. 1736−1795)
Qianlong yulan zhi bao 乾隆御覽之寳
Shiqu baoji 石渠寳笈
Yu shufang jiancang bao 御書房鑒藏寳
Shiqu dingjian 石渠定鑒
Baoji chongbian 寳笈重編
Qianlong jianshang 乾隆鑒賞
Sanxi Tang jingjian xi 三希堂精鑒璽
Yi zisun 宜子孫
Qing emperor Jiaqing 清帝嘉慶 (r. 1796−1820)
Jiaqing yulan zhi bao 嘉慶御覽之寳
Qing emperor Xuantong 清帝宣統 (r. 1908−1911)
Xuantong jianshang 宣統鑒賞
Wuyi Zhai jingjian xi 無逸齋精鑒璽
Xuantong yulan zhi bao 宣統御覽之寳
Gu Luofu 顧洛阜 (John M. Crawford, Jr., 1913−1988)
Hanguang Ge zhu Gu Luofu jiancang Zhongguo gudai shuhua zhi zhang
漢光閣主顧洛阜鑒藏中國古代書畫之章
Gu Luofu 顧洛阜
Hanguang Ge 漢光閣
Unidentified
Kuang Zhai miwan 曠齋祕玩
Yu Yandu 俞延篤
Yu shuzi yin 俞叔子印
Yandu siyin 延篤私印
Mo chan 墨禪
Rights Holder
Metropolitan Museum of Art
Identifier
1989.363.28
References
Shih Shou-ch'ien, Maxwell K. Hearn, and Alfreda Murck. The John M. Crawford, Jr., Collection of Chinese Calligraphy and Painting in the Metropolitan Museum of Art: Checklist. Exh. cat. New York: The Metropolitan Museum of Art, 1984, p. 21, cat. no. 35.
Fong, Wen C. Beyond Representation: Chinese Painting and Calligraphy, 8th–14th Century. New York: The Metropolitan Museum of Art, 1992, pp. 304–305, pl. 67.
Bickford, Maggie. Ink Plum: The Making of a Chinese Scholar-Painting Genre. Cambridge; New York: Cambridge University Press, 1996, pp. 149–52, fig. 43.
Ouyang Zhongshi et al. Chinese Calligraphy. New Haven: Yale University Press, 2008, p. 441, fig. 10.3.
Flacks, Marcus. Custodians of the Scholar's Way: Chinese Scholars' Objects in Precious Woods. London: Sylph Editions, 2014, pp. 10, 170–71, 258–59, 338–39, 426–27.
Fong, Wen C. Beyond Representation: Chinese Painting and Calligraphy, 8th–14th Century. New York: The Metropolitan Museum of Art, 1992, pp. 304–305, pl. 67.
Bickford, Maggie. Ink Plum: The Making of a Chinese Scholar-Painting Genre. Cambridge; New York: Cambridge University Press, 1996, pp. 149–52, fig. 43.
Ouyang Zhongshi et al. Chinese Calligraphy. New Haven: Yale University Press, 2008, p. 441, fig. 10.3.
Flacks, Marcus. Custodians of the Scholar's Way: Chinese Scholars' Objects in Precious Woods. London: Sylph Editions, 2014, pp. 10, 170–71, 258–59, 338–39, 426–27.