Palace Ladies and Attendants 宮女圖
Item
Title
Palace Ladies and Attendants 宮女圖
Description
(none)
Source
https://asia.si.edu/object/F1935.9
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: 23.3 x 25.1 cm (9-3/16 x 9-7/8 in) Jinsushan sutra paper, with one (1) seal:
Jinsushan cangjing zhi『金粟山藏經紙』(square relief) – colophon paper, middle
2 columns, standard script
纖秀端妍，審屬周文矩玅蹟。千山耿信公。
Observing how slender and graceful, demure and lovely [the woman is], one must place [this painting] among Zhou Wenju’s [most] marvelous works. Geng Xingong from Qianshan.
Signature: 耿信公
Geng Xingong
Date: none
Seals: (2)
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: 23.3 x 25.1 cm (9-3/16 x 9-7/8 in) Jinsushan sutra paper, with one (1) seal:
Jinsushan cangjing zhi『金粟山藏經紙』(square relief) – colophon paper, middle
2 columns, standard script
纖秀端妍，審屬周文矩玅蹟。千山耿信公。
Observing how slender and graceful, demure and lovely [the woman is], one must place [this painting] among Zhou Wenju’s [most] marvelous works. Geng Xingong from Qianshan.
Signature: 耿信公
Geng Xingong
Date: none
Seals: (2)
Zhaozhong『昭忠』(square relief) – below signature Xingong『信公』(square relief) – below signature
Abstract
14 Total
1. Chen Ding 陳定 (active mid-17th century) – (1)
Chen Ding『陳定』(square intaglio) – painting, lower left
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, right
Gong『公』(square relief) – painting, bottom, left of center
Zhenmi『珍祕』(square relief) – painting/backing, right
Yi er zisun『宜爾子孫』(square intaglio) – painting/backing, right
Dancheng『丹誠』(circle intaglio) – painting/backing, left
Duwei Geng Xingong shuhua zhi zhang『都尉耿信公書畫之章』(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, left
Qianshan Geng Xingong shuhua zhi zhang『千山耿信公書畫之章』(square relief) – sutra paper, left
3. Geng Jiazuo 耿嘉祚 (mid- to late 17th cent.) – (2)
Huihou zhencang『會侯珍藏』(square intaglio) – painting, bottom right
Geng Jiazuo yin『耿嘉祚印』(square intaglio) – painting, bottom left
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, lower left
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, right
Gong『公』(square relief) – painting, bottom, left of center
Zhenmi『珍祕』(square relief) – painting/backing, right
Yi er zisun『宜爾子孫』(square intaglio) – painting/backing, right
Dancheng『丹誠』(circle intaglio) – painting/backing, left
Duwei Geng Xingong shuhua zhi zhang『都尉耿信公書畫之章』(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, left
Qianshan Geng Xingong shuhua zhi zhang『千山耿信公書畫之章』(square relief) – sutra paper, left
3. Geng Jiazuo 耿嘉祚 (mid- to late 17th cent.) – (2)
Huihou zhencang『會侯珍藏』(square intaglio) – painting, bottom right
Geng Jiazuo yin『耿嘉祚印』(square intaglio) – painting, bottom left
4. Unidentified – (1)
Yanzhi xinshang『延之心賞』(square relief) – painting, bottom center
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1935.9
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, 180.
Cahill, James F. Chinese Album Leaves in the Freer Gallery of Art. Washington, DC:
Smithsonian Institution, 1961. P. 6 (color plate) and p. 9.
Edwards, Richard. “Mou I’s Colophon to his Pictorial Interpretation of Beating the Clothes”. In Archives of the Chinese Art Society of America 18 (1964): 7–12, esp. 10 (fig. 2).
Freer Gallery of Art. Freer Gallery of Art, I: China. Tokyo: Kodansha, 1971. P. 160.
Lovell, Hin-cheung. “Sung and Yuan Monochrome Lacquers in the Freer Gallery”. In Ars Orientalis 9 (1973): 121–30, esp. plate 17 (fig. 33).
Lawton, Thomas. Chinese Figure Painting. Washington, D.C.: David R. Godine in association with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 204–07.
___________. “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 (A21–118).
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. V0l. 2, 224 (no. 136).
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. 44 and 258 (no. 11).
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, 180.
Cahill, James F. Chinese Album Leaves in the Freer Gallery of Art. Washington, DC:
Smithsonian Institution, 1961. P. 6 (color plate) and p. 9.
Edwards, Richard. “Mou I’s Colophon to his Pictorial Interpretation of Beating the Clothes”. In Archives of the Chinese Art Society of America 18 (1964): 7–12, esp. 10 (fig. 2).
Freer Gallery of Art. Freer Gallery of Art, I: China. Tokyo: Kodansha, 1971. P. 160.
Lovell, Hin-cheung. “Sung and Yuan Monochrome Lacquers in the Freer Gallery”. In Ars Orientalis 9 (1973): 121–30, esp. plate 17 (fig. 33).
Lawton, Thomas. Chinese Figure Painting. Washington, D.C.: David R. Godine in association with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 204–07.
___________. “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 (A21–118).
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. V0l. 2, 224 (no. 136).
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. 44 and 258 (no. 11).
abstract
Traditionally attributed to Zhou Wenju (傳)周文矩