Palace Ladies Bathing Infants 浴嬰仕女圖
Item
Title
Palace Ladies Bathing Infants 浴嬰仕女圖
Description
(none)
Source
https://asia.si.edu/object/F1935.8
Creator
Zhou Wenju (attributed to) (傳) 周文矩
annotates
Label slip: Possibly by Geng Zhaozhong 耿昭忠 (1640–1686)
Mounted upper right; no signature or seals
Three characters, standard script
周文矩
Zhou Wenju
Painting: No artist signature, inscription, or seals. A light vertical crease down the middle of the painting confirms that this work was originally created as the panel of hand fan and mounted for some period of time in a bamboo frame having a handle that passed in back of the silk, causing wear.
Colophon: (1) – Geng Zhaozhong 耿昭忠 (1640–1686)
Facing leaf (Leaf b). Dimensions: 23.1 x 24.5 cm (9-1/8 x 9-5/8 in) Jinsushan sutra paper, with one (1) seal:
Jinsushan cangjing zhi『金粟山藏經紙』(square relief) – colophon paper, middle
3 columns, standard script
周文矩《浴嬰圖》，神彩風致，各臻玅理。自可前追古人，後無來者。襄平耿昭忠。
In Zhou Wenju’s Palace Ladies Bathing Infants, the expression and manner of each figure are composed in the most marvelous fashion. While Zhou himself could follow [the style and technique of] the ancient masters who preceded him, after him there was no one. Geng Zhaozong from Xiangping.
Signature: 耿昭忠
Geng Zhaozhong
Date: none
Seals: (3)
Moyuan『墨園』(gourd relief) – upper right
Zhaozhong『昭忠』(square relief) – below signature
Xingong『信公』(square relief) – below signature
Mounted upper right; no signature or seals
Three characters, standard script
周文矩
Zhou Wenju
Painting: No artist signature, inscription, or seals. A light vertical crease down the middle of the painting confirms that this work was originally created as the panel of hand fan and mounted for some period of time in a bamboo frame having a handle that passed in back of the silk, causing wear.
Colophon: (1) – Geng Zhaozhong 耿昭忠 (1640–1686)
Facing leaf (Leaf b). Dimensions: 23.1 x 24.5 cm (9-1/8 x 9-5/8 in) Jinsushan sutra paper, with one (1) seal:
Jinsushan cangjing zhi『金粟山藏經紙』(square relief) – colophon paper, middle
3 columns, standard script
周文矩《浴嬰圖》，神彩風致，各臻玅理。自可前追古人，後無來者。襄平耿昭忠。
In Zhou Wenju’s Palace Ladies Bathing Infants, the expression and manner of each figure are composed in the most marvelous fashion. While Zhou himself could follow [the style and technique of] the ancient masters who preceded him, after him there was no one. Geng Zhaozong from Xiangping.
Signature: 耿昭忠
Geng Zhaozhong
Date: none
Seals: (3)
Moyuan『墨園』(gourd relief) – upper right
Zhaozhong『昭忠』(square relief) – below signature
Xingong『信公』(square relief) – below signature
Abstract
13 Total
1. Chen Ding 陳定 (active mid-17th century) – (1)
Chen Ding『陳定』(square intaglio) – painting, right
2. Geng Zhaozhong 耿昭忠 (1640–1686) – (10) painting (7); mounting (1); facing leaf (2)
Zhenshang『真賞』(gourd relief) – painting, top right
Xingong zhenshang『信公珍賞』(square relief) – painting, bottom right
Gong『公』(square relief) – painting, bottom left
Dancheng『丹誠』(circle intaglio) – painting/backing, right
Duwei Geng Xingong shuhua zhi zhang『都尉耿信公書畫之章』(square intaglio) – painting/backing, right
Zhenmi『珍祕』(square relief) – painting/backing, left
Chang yi zisun『長宜子孫』(square intaglio) – painting/backing, left
Xingong jianding zhencang『信公鑑定珍藏』(oval relief) – cardboard fold Qinshutang『琴書堂』(square intaglio) – sutra paper/backing, mid left Qianshan Geng Xingong shuhua zhi zhang『千山耿信公書畫之章』(square relief) – sutra
paper/backing, lower left
3. Geng Jiazuo 耿嘉祚 (mid to late-17th cent.) – (1)
Huihou zhencang『會侯珍藏』(square intaglio) – painting, bottom right
4. Unidentified – (1)
Yanzhi xinshang『延之心賞』(square relief) – painting, bottom center
1. Chen Ding 陳定 (active mid-17th century) – (1)
Chen Ding『陳定』(square intaglio) – painting, right
2. Geng Zhaozhong 耿昭忠 (1640–1686) – (10) painting (7); mounting (1); facing leaf (2)
Zhenshang『真賞』(gourd relief) – painting, top right
Xingong zhenshang『信公珍賞』(square relief) – painting, bottom right
Gong『公』(square relief) – painting, bottom left
Dancheng『丹誠』(circle intaglio) – painting/backing, right
Duwei Geng Xingong shuhua zhi zhang『都尉耿信公書畫之章』(square intaglio) – painting/backing, right
Zhenmi『珍祕』(square relief) – painting/backing, left
Chang yi zisun『長宜子孫』(square intaglio) – painting/backing, left
Xingong jianding zhencang『信公鑑定珍藏』(oval relief) – cardboard fold Qinshutang『琴書堂』(square intaglio) – sutra paper/backing, mid left Qianshan Geng Xingong shuhua zhi zhang『千山耿信公書畫之章』(square relief) – sutra
paper/backing, lower left
3. Geng Jiazuo 耿嘉祚 (mid to late-17th cent.) – (1)
Huihou zhencang『會侯珍藏』(square intaglio) – painting, bottom right
4. Unidentified – (1)
Yanzhi xinshang『延之心賞』(square relief) – painting, bottom center
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1935.8
References
Pang Yuanji 龐元濟 (1864–1949). Xuzhai minghua lu 虛齋名畫錄. Shanghai: Privately published, 1909. Separate pagination, 11:15b.
Zhang Heng 張珩 (1914–1963). Muyanzhai shuhua jianshang biji: huihua er, shang 木雁齋書畫鑒賞筆記，繪畫二，上. Beijing: Wenwu chubanshe, 2000. Vol. 2, part 1, 179.
Sickman, Laurence (1906–1988), and Alexander Soper (1904–1993). The Art and Architecture of China. [Baltimore]: Penguin Books, 1956. Plate 95a.
Xie Zhiliu 謝稚柳 (1910–1997). Tang Wudai Song Yuan mingji 唐五代宋元名迹. Shanghai:
Gudian wenxue chubanshe, 1957. Plate 91, no. 22.
Cahill, James F. Chinese Album Leaves in the Freer Gallery of Art. Washington, DC:
Smithsonian Institution, 1961. Frontispiece (color plate), and p. 9.
Freer Gallery of Art. Freer Gallery of Art, I: China. Tokyo: Kodansha, 1971. P. 160.
Lawton, Thomas. Chinese Figure Painting. Washington, DC: David R. Godine in association with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 204–07, cat. no. 52.
__________. “Notes on Keng Chao-chung.” Renditions 6 (1976): 144–51.
Suzuki Kei 鈴木敬 (1920–2007), ed. Chūgoku kaiga sōgō zuroku 中國繪畫總合圖錄
(Comprehensive Illustrated Catalogue of Chinese Paintings). 5 vols. Tokyo: University of Tokyo, 1982–83. Vol. 1, 238 (A21–119).
Fong, Wen C. Beyond Representation: Chinese Painting and Calligraphy, 8th–14th century.
New York and New Haven: Metropolitan Museum of Art and Yale University Press, 1992. Pp.
21–26 (esp. 21, fig. x).
Fu, Shen C.Y. “Wit, Humor, and Playfulness in Traditional Chinese Painting.” Translated and adapted by Stephen D. Allee. In Asian Art & Culture 7.3 (Fall 1994): 47–65 (esp. 50–51, and fig.
4).
Laing, Ellen Johnston. “Auspicious Images of Children in China: Ninth to Thirteenth Century.” In Orientations 27.1 (January 1996): 47–52 (esp. 48–49, and fig. 5).
Haiwai cang Zhongguo lidai minghua bianji weiyuanhui 海外藏中國歷代名畫編輯委員會, eds. Haiwai cang Zhongguo lidai minghua 海外藏中國歷代名畫. 8 vols. Changsha: Hunan meishu chubanshe, 1998. Vol. 2, 224–25 (no. 137).
Barnhart, Richard and Catherine. “Images of Children in Song Painting and Poetry.” In Ann Barrott Wicks, ed. Children in Chinese Art. Honolulu: University of Hawai’i Press, 2002. Pp.
33–34 (fig. 2.2).
Zhejiang daxue Zhongguo gudai shuhua yanjiu zhongxin 浙江大學中國古代書畫研究中心, eds. Song hua quanji: di liu juan, di liu ce 宋畫全集: 第六卷，第六冊. Hangzhou: Zhejiang daxue chubanshe, 2008. Pp. 45 and 258 (no. 12).
Zhang Heng 張珩 (1914–1963). Muyanzhai shuhua jianshang biji: huihua er, shang 木雁齋書畫鑒賞筆記，繪畫二，上. Beijing: Wenwu chubanshe, 2000. Vol. 2, part 1, 179.
Sickman, Laurence (1906–1988), and Alexander Soper (1904–1993). The Art and Architecture of China. [Baltimore]: Penguin Books, 1956. Plate 95a.
Xie Zhiliu 謝稚柳 (1910–1997). Tang Wudai Song Yuan mingji 唐五代宋元名迹. Shanghai:
Gudian wenxue chubanshe, 1957. Plate 91, no. 22.
Cahill, James F. Chinese Album Leaves in the Freer Gallery of Art. Washington, DC:
Smithsonian Institution, 1961. Frontispiece (color plate), and p. 9.
Freer Gallery of Art. Freer Gallery of Art, I: China. Tokyo: Kodansha, 1971. P. 160.
Lawton, Thomas. Chinese Figure Painting. Washington, DC: David R. Godine in association with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 204–07, cat. no. 52.
__________. “Notes on Keng Chao-chung.” Renditions 6 (1976): 144–51.
Suzuki Kei 鈴木敬 (1920–2007), ed. Chūgoku kaiga sōgō zuroku 中國繪畫總合圖錄
(Comprehensive Illustrated Catalogue of Chinese Paintings). 5 vols. Tokyo: University of Tokyo, 1982–83. Vol. 1, 238 (A21–119).
Fong, Wen C. Beyond Representation: Chinese Painting and Calligraphy, 8th–14th century.
New York and New Haven: Metropolitan Museum of Art and Yale University Press, 1992. Pp.
21–26 (esp. 21, fig. x).
Fu, Shen C.Y. “Wit, Humor, and Playfulness in Traditional Chinese Painting.” Translated and adapted by Stephen D. Allee. In Asian Art & Culture 7.3 (Fall 1994): 47–65 (esp. 50–51, and fig.
4).
Laing, Ellen Johnston. “Auspicious Images of Children in China: Ninth to Thirteenth Century.” In Orientations 27.1 (January 1996): 47–52 (esp. 48–49, and fig. 5).
Haiwai cang Zhongguo lidai minghua bianji weiyuanhui 海外藏中國歷代名畫編輯委員會, eds. Haiwai cang Zhongguo lidai minghua 海外藏中國歷代名畫. 8 vols. Changsha: Hunan meishu chubanshe, 1998. Vol. 2, 224–25 (no. 137).
Barnhart, Richard and Catherine. “Images of Children in Song Painting and Poetry.” In Ann Barrott Wicks, ed. Children in Chinese Art. Honolulu: University of Hawai’i Press, 2002. Pp.
33–34 (fig. 2.2).
Zhejiang daxue Zhongguo gudai shuhua yanjiu zhongxin 浙江大學中國古代書畫研究中心, eds. Song hua quanji: di liu juan, di liu ce 宋畫全集: 第六卷，第六冊. Hangzhou: Zhejiang daxue chubanshe, 2008. Pp. 45 and 258 (no. 12).
abstract
Traditionally attributed to Zhou Wenju (傳)周文矩