The Double Screen 重屏圖
Item
Title
The Double Screen 重屏圖
Description
(none)
Source
https://asia.si.edu/object/F1911.195
Creator
Zhou Wenju (attributed to) (傳) 周文矩
annotates
Label slip:
Unidentified. Mounted on new backing paper, glued to outside flap 1 column, standard script (last four characters very damaged)
唐周文矩《李後主觀棋圖》，真跡神[品]。
Li Houzhu Observing a Game of Weiqi, by Zhou Wenju of the Tang dynasty; a genuine work of the divine [category].1
Signature: none
Date: none
Seals: none
Frontispiece:
unused brown paper; no seals
Painting Condition:
Very damaged throughout. Right side: strip of rough replacement silk top to bottom, varying in width. Lower left corner: also replacement silk.
Artist Inscription:
? – small traces of possible lost signature or other text on lower left of painting2
Colophons:
(3)
1.
Wu Kuan
吳寬
(1436–1504) – forgery3 Ink on sutra paper. Separately mounted, with silk surround. Paper dimensions: 30.2 x 57.4 cm (11-7/8 x 22-9/16 in) Maker’s seal: (1) – Jinsushan temple
金粟山
Jinsushan cang jingzhi『
金粟山藏經紙』
(rectangle relief)
20 columns, running-standard script.
繪事之傳久矣，自漢晉始，唐宋為最盛。其間以畫名者，不知凡幾，如山水、人物、仕女、花卉、翎毛、走獸、昆虫之類，俱各擅所長。其所最重[者*]圖像者，蓋以其與史事相表裏，皆有關政治學問，非徒以工麗巧飾為能也。漢人則有《歷代帝王像》，諸葛武侯有《八陣圖》，曹弗興有《兵符圖》，毛惠遠有《列女像》，曹霸有《功臣像》，張僧繇有《夜月觀泉圖》，展子虔有《遊春圖》，閻立本有《孔子弟子像》，陳閎有《八公圖》，張擇端有《清明上河圖》。或以隆盛德也，重軍旅也，褒烈忠也，紀勝遊也，興文教也，慎政治也，諫君上也，皆有所感發而作也。右周文矩《李後主觀棋圖》。余弱冠時，曾於張都諫家見之。其神采、衣紋、絹色、傅采，皆古穆渾厚。前有宋思陵瘦金書「周文矩李後主觀棋圖」九字，在隔水綾上。後蘇軾、胡完夫、陳直齋、鮮于樞、柯九思諸跋，洵稱至寶。癸亥九月十日過王子履亨齋中，出此見示。其筆墨精妙，與都諫所藏無异，的是唐人真品。第諸題跋不知何時為俗手割去，歎惜竟日。因題數語歸之履亨，其善寶諸。延陵吳寬。*注 : [者]字被點去。
[First section not translated]…..At right is the picture Last Ruler Li Watching a Game of Weiqi. When I was newly capped [at age nineteen: 1455], I once saw this painting at the home of Censor Zhang. …On the mounting silk in front [of the painting], Emperor Siling [Gaozong] of the Song dynasty [reigned 1127–62] had inscribed nine characters in slender gold [calligraphy]: Last Ruler Li Watching a Game of Weiqi.4 Mounted behind were several colophons by Su Shi [1037–1101], Hu Wanfu [Zongyu, 1029–1094], Chen Zhizhai [Zhensun, ca. 1183–ca. 1261], Xianyu Shu [1246–1302], and Ke Jiusi [1290– 1343], all of which were extremely valuable. On the tenth day of the ninth lunar-month in the guihai year [September 29, 1503], I visited the studio of Master Wang Lüheng [unidentified, see Collector Seals], who brought out this scroll to show me. Its brushwork and ink are subtle and refined, and there are no differences with the [painting] owned by the Censor, so it is certainly a genuine work by an artist of the [Southern] Tang period [937–75]. I do not know when some vulgar hand cut off the [front] inscription and all the colophons, but I sighed in regret [over it] the whole day.5 Thus I have inscribed a few words and am returning [the scroll] to [Wang] Lüheng, that he may treasure it well. Wu Kuan from Yanling [modern Changzhou, in Jiangsu Province].
Signature:
吳寬Wu Kuan
Date:
癸亥九月十日 Tenth day of the ninth lunar-month in the guihai year [September 29, 1503]
Seals:
(1) Yuanbo『
原博』(square relief)
2.
Li Yan’gua
李延适
(1868–after 1906)6
Text by Lu Xinyuan
陸心源
(1834–1894), dated 18927 Ink on paper. First of three same-size sheets, continuously mounted. 29 columns; running-standard script
此南唐畫院周文矩所畫李中主璟兄弟四人圍棋之象，宋人稱為《重屏圖》者也。見陸友仁《硯北襍志》卷二，原本畫于屏風。畫中又有屏上繪白樂天詩意，故曰重屏。至宋祐陵得之，始裝為軸而書白詩于上。中座當為南唐中主，見王明清《揮麈三錄》卷三，宋思陵始誤題為《後主觀棋圖》。非樓宣獻出示明8清，非明清以家藏中主象核對，亦莫辨其為中主也。中主兄弟五人，楚王景遷前卒，則此三人為晉王景遂、齊王景達、江王景逷矣。而孰為遂，孰為達，孰為逷，雖明清亦不能一一証之耳。榻上右首有古銅投壺一，壺中有矢三，榻上有矢二未投；傍有奕譜匣一；左有橫几，橫几上宮奩一、藤隱囊一、元匣一。傍有童子俯首而立，神情飄舉，眞有頰上添手之妙。南宋之季，為樓宣獻大防所藏，劉後村為之跋，亦見《硯北襍志》。後經柯九思、王履亨、項元汴、王阮亭諸家所藏，故裱綾有『縕真齋』、『王履亨』、『項元汴』、『王士禎』諸印，相傳皆沿後主觀棋之誤。余考訂諸書，証中座為中主，復題《重屏圖》舊名。千年舊物一旦豁然，雖絹敝墨渝，而神采如生，誠可寶也，誠可快也。白樂天《偶眠詩》云 : 「放杯書案上，枕臂火爐前，老愛尋思事，慵多取次眠，妻教卸烏帽，婢與展青氈，便是屏風樣，何勞畫古賢？」；亦見《硯北襍志》。惜徽宗御書白詩不可得見耳。光緒壬辰十月，歸安陸心源剛父題。丙午八月，烏程李延适書。
[Translation forthcoming]
Signature:
李延适 Li Yan’gua
Date:
Text composed:
光緒壬辰十月Tenth lunar-month of the renchen year in the Guangxu reign period [November 19–December 18, 1892] Text inscribed: [
光緒]丙午八月Eighth lunar-month of the bingwu year [September 18–October 17, 1906]
Seals:
(2) Gua『
适』(square relief)Li shi Zhongshu『
李氏仲殊』(rectangle intaglio)
3.
Saying’a
薩迎阿
(active 1808–1857)9 Ink on paper. Second and third sheets, continuously mounted. Total dimensions: 29.8 x 85.8 cm. (11-11/16 x 33-13/16 in.) Ruled-line box with twenty-four ruled columns in light green ink.
22 columns, running script.
道光壬寅清和浴佛日，彭春農讀學招同卓海帆協揆、龔季思大宗伯、沈定甫少空、李芝齡摠憲，小飲於姚伯昂閣學寓之君子世界中，雅集也。是日芝齡先生攜右軍書《感懷》卷、松雪書《拄杖歌》、周文矩畫《李後主觀奕圖》卷。余亦攜右軍《感懷》卷，來互相考證。兩卷筆稍參差，其為雙鉤填廓無異。松雪書極佳，惜間為六丁所掣。此卷吳原博追憶宋徽宗瘦金體題籤九字，證為文矩所繪。古人手跡真贗難定，以佳為歸。觀其奕者、觀者，各得其神，後主諸王紗帽中，皆露頂髮，筆法精妙絕倫，足供賞鑒家之清玩。其出自文矩之手與否，可毋庸置議。後主與諸王手談以敘天倫之樂，情篤友愛，攬者亦將有感於斯圖。芝齡先生命題，湘林薩應阿觀謹識。
On Bathing Buddha Day in qinghe [the fourth lunar-month] of the renyin year in the Daoguang reign period [May 17, 1842], Academician Reader Peng Chunnong invited me, together with Assistant Grand Secretary Zhuo Haifan, Minister of Rites Gong Jisi, Shen Dingfu who is on hiatus [from office], and Censor-in-chief Li Zhiling, for an informal drink at an ―elegant gathering‖ of gentleman at the residence of Secretariat Academician Yao Bo’ang.10 On that day, Mister [Li] Zhiling brought along his handscroll Moved by Emotion written by [Wang Xizhi, ca. 303–ca. 361] of the Army of the Right, Leaning on My Staff written by Songxue [Zhao Mengfu, 1254–1322], and the handscroll Last Ruler Li Watching a Game of Weiqi painted by Zhou Wenju.11 I also brought along my handscroll of Moved by Emotion by [Wang Xizhi of the] Army of the Right for us to study and compare. The brushwork in both scrolls [by Wang Xizhi] is rather uneven, and they are undoubtly [copies] made by the trace-and-fill [method]. Songxue’s calligraphy is extremely beautiful, but it is a pity that sections of it [are missing]. As evidence that this scroll was painted by Zhou Wenju, Wu Yuanbo [Wu Kuan, see Colophon 1] recollected nine characters written on a label in the slender-gold style of Emperor Huizong of the Song.12 But the authenticity of works by the old masters is hard to determine, and attributions
22 columns, running script.
道光壬寅清和浴佛日，彭春農讀學招同卓海帆協揆、龔季思大宗伯、沈定甫少空、李芝齡摠憲，小飲於姚伯昂閣學寓之君子世界中，雅集也。是日芝齡先生攜右軍書《感懷》卷、松雪書《拄杖歌》、周文矩畫《李後主觀奕圖》卷。余亦攜右軍《感懷》卷，來互相考證。兩卷筆稍參差，其為雙鉤填廓無異。松雪書極佳，惜間為六丁所掣。此卷吳原博追憶宋徽宗瘦金體題籤九字，證為文矩所繪。古人手跡真贗難定，以佳為歸。觀其奕者、觀者，各得其神，後主諸王紗帽中，皆露頂髮，筆法精妙絕倫，足供賞鑒家之清玩。其出自文矩之手與否，可毋庸置議。後主與諸王手談以敘天倫之樂，情篤友愛，攬者亦將有感於斯圖。芝齡先生命題，湘林薩應阿觀謹識。
On Bathing Buddha Day in qinghe [the fourth lunar-month] of the renyin year in the Daoguang reign period [May 17, 1842], Academician Reader Peng Chunnong invited me, together with Assistant Grand Secretary Zhuo Haifan, Minister of Rites Gong Jisi, Shen Dingfu who is on hiatus [from office], and Censor-in-chief Li Zhiling, for an informal drink at an ―elegant gathering‖ of gentleman at the residence of Secretariat Academician Yao Bo’ang.10 On that day, Mister [Li] Zhiling brought along his handscroll Moved by Emotion written by [Wang Xizhi, ca. 303–ca. 361] of the Army of the Right, Leaning on My Staff written by Songxue [Zhao Mengfu, 1254–1322], and the handscroll Last Ruler Li Watching a Game of Weiqi painted by Zhou Wenju.11 I also brought along my handscroll of Moved by Emotion by [Wang Xizhi of the] Army of the Right for us to study and compare. The brushwork in both scrolls [by Wang Xizhi] is rather uneven, and they are undoubtly [copies] made by the trace-and-fill [method]. Songxue’s calligraphy is extremely beautiful, but it is a pity that sections of it [are missing]. As evidence that this scroll was painted by Zhou Wenju, Wu Yuanbo [Wu Kuan, see Colophon 1] recollected nine characters written on a label in the slender-gold style of Emperor Huizong of the Song.12 But the authenticity of works by the old masters is hard to determine, and attributions
Unidentified. Mounted on new backing paper, glued to outside flap 1 column, standard script (last four characters very damaged)
唐周文矩《李後主觀棋圖》，真跡神[品]。
Li Houzhu Observing a Game of Weiqi, by Zhou Wenju of the Tang dynasty; a genuine work of the divine [category].1
Signature: none
Date: none
Seals: none
Frontispiece:
unused brown paper; no seals
Painting Condition:
Very damaged throughout. Right side: strip of rough replacement silk top to bottom, varying in width. Lower left corner: also replacement silk.
Artist Inscription:
? – small traces of possible lost signature or other text on lower left of painting2
Colophons:
(3)
1.
Wu Kuan
吳寬
(1436–1504) – forgery3 Ink on sutra paper. Separately mounted, with silk surround. Paper dimensions: 30.2 x 57.4 cm (11-7/8 x 22-9/16 in) Maker’s seal: (1) – Jinsushan temple
金粟山
Jinsushan cang jingzhi『
金粟山藏經紙』
(rectangle relief)
20 columns, running-standard script.
繪事之傳久矣，自漢晉始，唐宋為最盛。其間以畫名者，不知凡幾，如山水、人物、仕女、花卉、翎毛、走獸、昆虫之類，俱各擅所長。其所最重[者*]圖像者，蓋以其與史事相表裏，皆有關政治學問，非徒以工麗巧飾為能也。漢人則有《歷代帝王像》，諸葛武侯有《八陣圖》，曹弗興有《兵符圖》，毛惠遠有《列女像》，曹霸有《功臣像》，張僧繇有《夜月觀泉圖》，展子虔有《遊春圖》，閻立本有《孔子弟子像》，陳閎有《八公圖》，張擇端有《清明上河圖》。或以隆盛德也，重軍旅也，褒烈忠也，紀勝遊也，興文教也，慎政治也，諫君上也，皆有所感發而作也。右周文矩《李後主觀棋圖》。余弱冠時，曾於張都諫家見之。其神采、衣紋、絹色、傅采，皆古穆渾厚。前有宋思陵瘦金書「周文矩李後主觀棋圖」九字，在隔水綾上。後蘇軾、胡完夫、陳直齋、鮮于樞、柯九思諸跋，洵稱至寶。癸亥九月十日過王子履亨齋中，出此見示。其筆墨精妙，與都諫所藏無异，的是唐人真品。第諸題跋不知何時為俗手割去，歎惜竟日。因題數語歸之履亨，其善寶諸。延陵吳寬。*注 : [者]字被點去。
[First section not translated]…..At right is the picture Last Ruler Li Watching a Game of Weiqi. When I was newly capped [at age nineteen: 1455], I once saw this painting at the home of Censor Zhang. …On the mounting silk in front [of the painting], Emperor Siling [Gaozong] of the Song dynasty [reigned 1127–62] had inscribed nine characters in slender gold [calligraphy]: Last Ruler Li Watching a Game of Weiqi.4 Mounted behind were several colophons by Su Shi [1037–1101], Hu Wanfu [Zongyu, 1029–1094], Chen Zhizhai [Zhensun, ca. 1183–ca. 1261], Xianyu Shu [1246–1302], and Ke Jiusi [1290– 1343], all of which were extremely valuable. On the tenth day of the ninth lunar-month in the guihai year [September 29, 1503], I visited the studio of Master Wang Lüheng [unidentified, see Collector Seals], who brought out this scroll to show me. Its brushwork and ink are subtle and refined, and there are no differences with the [painting] owned by the Censor, so it is certainly a genuine work by an artist of the [Southern] Tang period [937–75]. I do not know when some vulgar hand cut off the [front] inscription and all the colophons, but I sighed in regret [over it] the whole day.5 Thus I have inscribed a few words and am returning [the scroll] to [Wang] Lüheng, that he may treasure it well. Wu Kuan from Yanling [modern Changzhou, in Jiangsu Province].
Signature:
吳寬Wu Kuan
Date:
癸亥九月十日 Tenth day of the ninth lunar-month in the guihai year [September 29, 1503]
Seals:
(1) Yuanbo『
原博』(square relief)
2.
Li Yan’gua
李延适
(1868–after 1906)6
Text by Lu Xinyuan
陸心源
(1834–1894), dated 18927 Ink on paper. First of three same-size sheets, continuously mounted. 29 columns; running-standard script
此南唐畫院周文矩所畫李中主璟兄弟四人圍棋之象，宋人稱為《重屏圖》者也。見陸友仁《硯北襍志》卷二，原本畫于屏風。畫中又有屏上繪白樂天詩意，故曰重屏。至宋祐陵得之，始裝為軸而書白詩于上。中座當為南唐中主，見王明清《揮麈三錄》卷三，宋思陵始誤題為《後主觀棋圖》。非樓宣獻出示明8清，非明清以家藏中主象核對，亦莫辨其為中主也。中主兄弟五人，楚王景遷前卒，則此三人為晉王景遂、齊王景達、江王景逷矣。而孰為遂，孰為達，孰為逷，雖明清亦不能一一証之耳。榻上右首有古銅投壺一，壺中有矢三，榻上有矢二未投；傍有奕譜匣一；左有橫几，橫几上宮奩一、藤隱囊一、元匣一。傍有童子俯首而立，神情飄舉，眞有頰上添手之妙。南宋之季，為樓宣獻大防所藏，劉後村為之跋，亦見《硯北襍志》。後經柯九思、王履亨、項元汴、王阮亭諸家所藏，故裱綾有『縕真齋』、『王履亨』、『項元汴』、『王士禎』諸印，相傳皆沿後主觀棋之誤。余考訂諸書，証中座為中主，復題《重屏圖》舊名。千年舊物一旦豁然，雖絹敝墨渝，而神采如生，誠可寶也，誠可快也。白樂天《偶眠詩》云 : 「放杯書案上，枕臂火爐前，老愛尋思事，慵多取次眠，妻教卸烏帽，婢與展青氈，便是屏風樣，何勞畫古賢？」；亦見《硯北襍志》。惜徽宗御書白詩不可得見耳。光緒壬辰十月，歸安陸心源剛父題。丙午八月，烏程李延适書。
[Translation forthcoming]
Signature:
李延适 Li Yan’gua
Date:
Text composed:
光緒壬辰十月Tenth lunar-month of the renchen year in the Guangxu reign period [November 19–December 18, 1892] Text inscribed: [
光緒]丙午八月Eighth lunar-month of the bingwu year [September 18–October 17, 1906]
Seals:
(2) Gua『
适』(square relief)Li shi Zhongshu『
李氏仲殊』(rectangle intaglio)
3.
Saying’a
薩迎阿
(active 1808–1857)9 Ink on paper. Second and third sheets, continuously mounted. Total dimensions: 29.8 x 85.8 cm. (11-11/16 x 33-13/16 in.) Ruled-line box with twenty-four ruled columns in light green ink.
22 columns, running script.
道光壬寅清和浴佛日，彭春農讀學招同卓海帆協揆、龔季思大宗伯、沈定甫少空、李芝齡摠憲，小飲於姚伯昂閣學寓之君子世界中，雅集也。是日芝齡先生攜右軍書《感懷》卷、松雪書《拄杖歌》、周文矩畫《李後主觀奕圖》卷。余亦攜右軍《感懷》卷，來互相考證。兩卷筆稍參差，其為雙鉤填廓無異。松雪書極佳，惜間為六丁所掣。此卷吳原博追憶宋徽宗瘦金體題籤九字，證為文矩所繪。古人手跡真贗難定，以佳為歸。觀其奕者、觀者，各得其神，後主諸王紗帽中，皆露頂髮，筆法精妙絕倫，足供賞鑒家之清玩。其出自文矩之手與否，可毋庸置議。後主與諸王手談以敘天倫之樂，情篤友愛，攬者亦將有感於斯圖。芝齡先生命題，湘林薩應阿觀謹識。
On Bathing Buddha Day in qinghe [the fourth lunar-month] of the renyin year in the Daoguang reign period [May 17, 1842], Academician Reader Peng Chunnong invited me, together with Assistant Grand Secretary Zhuo Haifan, Minister of Rites Gong Jisi, Shen Dingfu who is on hiatus [from office], and Censor-in-chief Li Zhiling, for an informal drink at an ―elegant gathering‖ of gentleman at the residence of Secretariat Academician Yao Bo’ang.10 On that day, Mister [Li] Zhiling brought along his handscroll Moved by Emotion written by [Wang Xizhi, ca. 303–ca. 361] of the Army of the Right, Leaning on My Staff written by Songxue [Zhao Mengfu, 1254–1322], and the handscroll Last Ruler Li Watching a Game of Weiqi painted by Zhou Wenju.11 I also brought along my handscroll of Moved by Emotion by [Wang Xizhi of the] Army of the Right for us to study and compare. The brushwork in both scrolls [by Wang Xizhi] is rather uneven, and they are undoubtly [copies] made by the trace-and-fill [method]. Songxue’s calligraphy is extremely beautiful, but it is a pity that sections of it [are missing]. As evidence that this scroll was painted by Zhou Wenju, Wu Yuanbo [Wu Kuan, see Colophon 1] recollected nine characters written on a label in the slender-gold style of Emperor Huizong of the Song.12 But the authenticity of works by the old masters is hard to determine, and attributions
22 columns, running script.
道光壬寅清和浴佛日，彭春農讀學招同卓海帆協揆、龔季思大宗伯、沈定甫少空、李芝齡摠憲，小飲於姚伯昂閣學寓之君子世界中，雅集也。是日芝齡先生攜右軍書《感懷》卷、松雪書《拄杖歌》、周文矩畫《李後主觀奕圖》卷。余亦攜右軍《感懷》卷，來互相考證。兩卷筆稍參差，其為雙鉤填廓無異。松雪書極佳，惜間為六丁所掣。此卷吳原博追憶宋徽宗瘦金體題籤九字，證為文矩所繪。古人手跡真贗難定，以佳為歸。觀其奕者、觀者，各得其神，後主諸王紗帽中，皆露頂髮，筆法精妙絕倫，足供賞鑒家之清玩。其出自文矩之手與否，可毋庸置議。後主與諸王手談以敘天倫之樂，情篤友愛，攬者亦將有感於斯圖。芝齡先生命題，湘林薩應阿觀謹識。
On Bathing Buddha Day in qinghe [the fourth lunar-month] of the renyin year in the Daoguang reign period [May 17, 1842], Academician Reader Peng Chunnong invited me, together with Assistant Grand Secretary Zhuo Haifan, Minister of Rites Gong Jisi, Shen Dingfu who is on hiatus [from office], and Censor-in-chief Li Zhiling, for an informal drink at an ―elegant gathering‖ of gentleman at the residence of Secretariat Academician Yao Bo’ang.10 On that day, Mister [Li] Zhiling brought along his handscroll Moved by Emotion written by [Wang Xizhi, ca. 303–ca. 361] of the Army of the Right, Leaning on My Staff written by Songxue [Zhao Mengfu, 1254–1322], and the handscroll Last Ruler Li Watching a Game of Weiqi painted by Zhou Wenju.11 I also brought along my handscroll of Moved by Emotion by [Wang Xizhi of the] Army of the Right for us to study and compare. The brushwork in both scrolls [by Wang Xizhi] is rather uneven, and they are undoubtly [copies] made by the trace-and-fill [method]. Songxue’s calligraphy is extremely beautiful, but it is a pity that sections of it [are missing]. As evidence that this scroll was painted by Zhou Wenju, Wu Yuanbo [Wu Kuan, see Colophon 1] recollected nine characters written on a label in the slender-gold style of Emperor Huizong of the Song.12 But the authenticity of works by the old masters is hard to determine, and attributions
Abstract
41 Total
1. Zhao Gou, Emperor Gaozong of the Southern Song 南宋高宗趙構 (1107–1187;
reigned 1127–62) – (1) – fake
Shaoxing『紹』『興』(linked-square relief, right half) – painting, upper left
2. Ke Jiusi 柯九思 (1290–1343) – (1) – black ink – fake16
Yunzhenzhai『縕眞齋』(rectangle relief) –– mounting silk 1, left
3. Wang Lüheng 王履亨 (late 15th century; unidentified)17
– (2)
Taiyuan Wang shi jiancang『太原王氏鑒藏』(rectangle relief) – mounting silk 2, left
Lüheng『履亨』(square intaglio) – mounting silk 2, lower left
4. Wen Zhengming 文徵明 (1470–1559)18
– (1) – genuine/fake?
Wuyanshi yin『悟言室印』(square intaglio) – mounting silk 2, lower left corner
5. Zhu Lang 朱郎 (early to mid-16th century)19
– (1) – genuine/fake?
Zhu Zilang『朱子郎』(square relief/intaglio) – mounting silk 2, left
6. Xiang Yuanbian 項元汴
『項元汴印
神』『品
(1525–1590) – (2) – genuine/fake?
Xiang Yuanbian yin 』(square relief) – mounting silk 1
Shenpin『 』 20 (linked-square relief) – painting, right
7. Zhu Zhichi 朱之赤 (active 1620s–1680s?) – (2) – genuine?
Wo’an suocang『臥庵所藏』 21 (square relief) – painting/mounting silk 2, join
Wo’an fu『臥庵父』 22 (square relief) – mounting silk 2, left
8. Wang Shizhen 王士禎 (1634–1711) – (1) – genuine/fake?
Wang Shizhen『王士禎』(square intaglio) – mounting silk 1, right
9. Wang Shihong 汪士鋐 (1658–1723) – (1) – genuine/fake?
Tuigu『退谷』(square relief) – mounting silk 1, left
10. Zhu Chongdian 朱崇典 (active mid-18th century) – (2)
Zhu Chongdian yin『朱崇典印』(square intaglio) – mounting silk 2, lower right
Zizi sunsun yong zhi xiang xiang『子子孫孫用之象相』(square intaglio) –
mounting silk 2, lower right
11. Pak Chega (Pu Qijia) 樸齊家 (1750–1805), Korean – (2)
Pu Qijia yin『朴齊家印』(square intaglio) – mounting silk 1, middle
Chaoxian shichen『朝鮮使臣』(square relief) – mounting silk 1, middle
12. Tang Zuomei 唐作梅 (active late 18th century) – (2)
Tang Zuomei『唐作梅』(square relief) – colophon 1, lower left
Beizhisheng『北枝生』(square relief) – colophon 1, lower left
13. Saying’a 薩應阿 (active 1808–1857) – (1) – see above, Colophon 3
Xianglin guoyan『湘林過眼』(square intalgio) – mounting silk 2, right
14. Delin 德林 (active mid-19th century) – (4)
De『德』(square relief) – mounting silk 1, middle
Ershisiqin shuwu Tieke miji jinshi shuhua zhi yin『二十四琴書屋鐵客秘笈金石書
畫之印』(rectangle relief) – mounting silk 1, middle
Delin siyin『德林私印』(square intaglio) – mounting silk 2, left
Tieke xinshang『鐵客心賞』(oval relief) – mounting silk 2, left
15. Shaoxian 紹諴 (mid- to late 19th century) – (2)
Shaoxian『紹』『諴』(linked-square relief) – mounting silk 1, right
Shaoxian baiguan『紹諴拜觀』(square intaglio) – mounting silk 2, right
16. Lu Shusheng 陸樹聲 (died 1933)23
– (3)
Qingshen jianyue『清慎儉約』(square relief) – mounting silk 2, middle
Gui’an Lu Shusheng duhua ji『歸安陸樹聲讀畫記』(square intaglio) – mounting silk
2, middle
Gui’an Lu Shusheng Shutongfu yin『歸安陸樹聲叔桐父印』(square intaglio) –
colophon 1, lower left
17. Wanyan Jingxian 完顏景賢 (died 1927?) – (5)
Yanbo huafang『煙波畫舫』(pottery-shard relief) – mounting silk 1, right
Renzhai mingxin zhi pin『任齋銘心之品』(square relief) – mounting silk 1, right
Jingxing weixian『景行維賢』(square intaglio) – mounting silk 2, middle
Jing yin changle『景印長樂』(square intaglio) – mounting silk 2, middle
Xiaoru’an miji『小如庵秘笈』(square relief) – colophon 1, lower right
18. Unidentified – (8)
Guozi jijiu『國子祭酒』(square relief) – mounting silk 1, right
Kong Jia fu『孔嘉父』(square intaglio) – mounting silk 1, left
Undeciphered half-seal (square intaglio) – mounting silk 1, bottom left
Undeciphered half-seal (square relief) – painting/mounting silk 2 join, lower left
Undeciphered half-seal (rectangle intaglio) – painting/ mounting silk 2 join, lower
left24
Renbentang『仁本堂』(square relief) – painting, bottom left corner (on
replacement silk)
Zushi zhi yin『祖栻之印』(square intaglio) – colophon 1, lower right
You long ze ling『有龍則靈』(square relief ) – colophon 3, left
1. Zhao Gou, Emperor Gaozong of the Southern Song 南宋高宗趙構 (1107–1187;
reigned 1127–62) – (1) – fake
Shaoxing『紹』『興』(linked-square relief, right half) – painting, upper left
2. Ke Jiusi 柯九思 (1290–1343) – (1) – black ink – fake16
Yunzhenzhai『縕眞齋』(rectangle relief) –– mounting silk 1, left
3. Wang Lüheng 王履亨 (late 15th century; unidentified)17
– (2)
Taiyuan Wang shi jiancang『太原王氏鑒藏』(rectangle relief) – mounting silk 2, left
Lüheng『履亨』(square intaglio) – mounting silk 2, lower left
4. Wen Zhengming 文徵明 (1470–1559)18
– (1) – genuine/fake?
Wuyanshi yin『悟言室印』(square intaglio) – mounting silk 2, lower left corner
5. Zhu Lang 朱郎 (early to mid-16th century)19
– (1) – genuine/fake?
Zhu Zilang『朱子郎』(square relief/intaglio) – mounting silk 2, left
6. Xiang Yuanbian 項元汴
『項元汴印
神』『品
(1525–1590) – (2) – genuine/fake?
Xiang Yuanbian yin 』(square relief) – mounting silk 1
Shenpin『 』 20 (linked-square relief) – painting, right
7. Zhu Zhichi 朱之赤 (active 1620s–1680s?) – (2) – genuine?
Wo’an suocang『臥庵所藏』 21 (square relief) – painting/mounting silk 2, join
Wo’an fu『臥庵父』 22 (square relief) – mounting silk 2, left
8. Wang Shizhen 王士禎 (1634–1711) – (1) – genuine/fake?
Wang Shizhen『王士禎』(square intaglio) – mounting silk 1, right
9. Wang Shihong 汪士鋐 (1658–1723) – (1) – genuine/fake?
Tuigu『退谷』(square relief) – mounting silk 1, left
10. Zhu Chongdian 朱崇典 (active mid-18th century) – (2)
Zhu Chongdian yin『朱崇典印』(square intaglio) – mounting silk 2, lower right
Zizi sunsun yong zhi xiang xiang『子子孫孫用之象相』(square intaglio) –
mounting silk 2, lower right
11. Pak Chega (Pu Qijia) 樸齊家 (1750–1805), Korean – (2)
Pu Qijia yin『朴齊家印』(square intaglio) – mounting silk 1, middle
Chaoxian shichen『朝鮮使臣』(square relief) – mounting silk 1, middle
12. Tang Zuomei 唐作梅 (active late 18th century) – (2)
Tang Zuomei『唐作梅』(square relief) – colophon 1, lower left
Beizhisheng『北枝生』(square relief) – colophon 1, lower left
13. Saying’a 薩應阿 (active 1808–1857) – (1) – see above, Colophon 3
Xianglin guoyan『湘林過眼』(square intalgio) – mounting silk 2, right
14. Delin 德林 (active mid-19th century) – (4)
De『德』(square relief) – mounting silk 1, middle
Ershisiqin shuwu Tieke miji jinshi shuhua zhi yin『二十四琴書屋鐵客秘笈金石書
畫之印』(rectangle relief) – mounting silk 1, middle
Delin siyin『德林私印』(square intaglio) – mounting silk 2, left
Tieke xinshang『鐵客心賞』(oval relief) – mounting silk 2, left
15. Shaoxian 紹諴 (mid- to late 19th century) – (2)
Shaoxian『紹』『諴』(linked-square relief) – mounting silk 1, right
Shaoxian baiguan『紹諴拜觀』(square intaglio) – mounting silk 2, right
16. Lu Shusheng 陸樹聲 (died 1933)23
– (3)
Qingshen jianyue『清慎儉約』(square relief) – mounting silk 2, middle
Gui’an Lu Shusheng duhua ji『歸安陸樹聲讀畫記』(square intaglio) – mounting silk
2, middle
Gui’an Lu Shusheng Shutongfu yin『歸安陸樹聲叔桐父印』(square intaglio) –
colophon 1, lower left
17. Wanyan Jingxian 完顏景賢 (died 1927?) – (5)
Yanbo huafang『煙波畫舫』(pottery-shard relief) – mounting silk 1, right
Renzhai mingxin zhi pin『任齋銘心之品』(square relief) – mounting silk 1, right
Jingxing weixian『景行維賢』(square intaglio) – mounting silk 2, middle
Jing yin changle『景印長樂』(square intaglio) – mounting silk 2, middle
Xiaoru’an miji『小如庵秘笈』(square relief) – colophon 1, lower right
18. Unidentified – (8)
Guozi jijiu『國子祭酒』(square relief) – mounting silk 1, right
Kong Jia fu『孔嘉父』(square intaglio) – mounting silk 1, left
Undeciphered half-seal (square intaglio) – mounting silk 1, bottom left
Undeciphered half-seal (square relief) – painting/mounting silk 2 join, lower left
Undeciphered half-seal (rectangle intaglio) – painting/ mounting silk 2 join, lower
left24
Renbentang『仁本堂』(square relief) – painting, bottom left corner (on
replacement silk)
Zushi zhi yin『祖栻之印』(square intaglio) – colophon 1, lower right
You long ze ling『有龍則靈』(square relief ) – colophon 3, left
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1911.195
References
Lu Xinyuan 陸心源 (1834–1894). Rangliguan guoyan xulu 穰梨館過眼續錄. Wuxing 吳
興: Yigutang 儀顧堂, 1891. 1:5a–7b.
Laing, Ellen Johnston. Scholars and Sages: A Study in Chinese Figure Painting. PhD.
Thesis: The University of Michigan, 1967. Vol. 1, 88–89, and vol. 2, 209 (plate 25).
Lawton, Thomas. Chinese Figure Painting. Washington, DC: David R. Godine, in
association with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 34–37.
Shan Guoqiang 單國強. ―Zhou Wenju Chongping huiqi tu juan‖ 周文矩《重屏會棋圖》
卷. In Wenwu 文物 284 (1980.1): 88–89 and plate 1.
__________. Wudai Zhou Wenju “Chongping huiqi tu” juan 五代周文矩《重屏會棋圖》
卷. Portfolio. Tianjin: Renmin meishu chubanshe, 1981. Loose page.
Xu Bangda 徐邦達. Gushuhua wei’e kaobian 古書畫偽訛考辨. 4 vols. [Nanjing]:
Jiangsu guji chubanshe, 1984. Vol. 1, 148–50 and 203–05.
Suzuki Kei 鈴木敬 (1920–2007). Chūgoku kaigashi 中國繪畫史. Vol. 1. Tokyo:
Yoshikawa kōbunkan, 1981. Part 2, 116 (plate 128; photo printed by mistake).
__________, 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, 190–91 (A21–021).
Guoli gugong bowuyuan 國立故宮博物院, eds. Haiwai yizhen: huihua 海外遺珍：繪畫
(Chinese Art in Overseas Collections: Paintings). Taibei: Gugong bowuyuan, 1985. P. 13.
Maeda, Robert J. ―Spatial Enclosures: The Idea of Inferior Space in Chinese Painting.‖
Oriental Art 31.4 (Winter 1985–86): 370–91, esp. 384 (fig. 21).
Chen Zengbi. ―A Thousand-Year-Old Daybed.‖ In Journal of the Classical Chinese
Furniture Society 4.4 (Autumn 1994): 24–28, esp. 27 (fig. 6).
Ang, John Kwang-ming. ―Enduring Traditions of Shanxi Furniture.‖ In Orientations 27.5
(May 1996): 59 (fig. 14).
Wu, Hung. The Double Screen: Medium and Representation in Chinese Painting.
Chicago: University of Chicago Press, 1996. Pp. 79–84, 125–29, 241–43.
Xie Zhiliu 謝稚柳 (1910–1997). Zhongguo shuhua jianding 中國書畫鑒定. Shanghai:
Dongfang chuban zhongxin, 1998. Pp. 127–28.
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, 49 (no. 30).
興: Yigutang 儀顧堂, 1891. 1:5a–7b.
Laing, Ellen Johnston. Scholars and Sages: A Study in Chinese Figure Painting. PhD.
Thesis: The University of Michigan, 1967. Vol. 1, 88–89, and vol. 2, 209 (plate 25).
Lawton, Thomas. Chinese Figure Painting. Washington, DC: David R. Godine, in
association with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 34–37.
Shan Guoqiang 單國強. ―Zhou Wenju Chongping huiqi tu juan‖ 周文矩《重屏會棋圖》
卷. In Wenwu 文物 284 (1980.1): 88–89 and plate 1.
__________. Wudai Zhou Wenju “Chongping huiqi tu” juan 五代周文矩《重屏會棋圖》
卷. Portfolio. Tianjin: Renmin meishu chubanshe, 1981. Loose page.
Xu Bangda 徐邦達. Gushuhua wei’e kaobian 古書畫偽訛考辨. 4 vols. [Nanjing]:
Jiangsu guji chubanshe, 1984. Vol. 1, 148–50 and 203–05.
Suzuki Kei 鈴木敬 (1920–2007). Chūgoku kaigashi 中國繪畫史. Vol. 1. Tokyo:
Yoshikawa kōbunkan, 1981. Part 2, 116 (plate 128; photo printed by mistake).
__________, 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, 190–91 (A21–021).
Guoli gugong bowuyuan 國立故宮博物院, eds. Haiwai yizhen: huihua 海外遺珍：繪畫
(Chinese Art in Overseas Collections: Paintings). Taibei: Gugong bowuyuan, 1985. P. 13.
Maeda, Robert J. ―Spatial Enclosures: The Idea of Inferior Space in Chinese Painting.‖
Oriental Art 31.4 (Winter 1985–86): 370–91, esp. 384 (fig. 21).
Chen Zengbi. ―A Thousand-Year-Old Daybed.‖ In Journal of the Classical Chinese
Furniture Society 4.4 (Autumn 1994): 24–28, esp. 27 (fig. 6).
Ang, John Kwang-ming. ―Enduring Traditions of Shanxi Furniture.‖ In Orientations 27.5
(May 1996): 59 (fig. 14).
Wu, Hung. The Double Screen: Medium and Representation in Chinese Painting.
Chicago: University of Chicago Press, 1996. Pp. 79–84, 125–29, 241–43.
Xie Zhiliu 謝稚柳 (1910–1997). Zhongguo shuhua jianding 中國書畫鑒定. Shanghai:
Dongfang chuban zhongxin, 1998. Pp. 127–28.
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, 49 (no. 30).
abstract
Traditionally attributed to Zhou Wenju (傳)周文矩