Horse and Groom, after Li Gonglin 臨李公麟〈人馬圖〉
Item
Title
Horse and Groom, after Li Gonglin 臨李公麟〈人馬圖〉
Description
Artist Inscription: Zhao Yong 趙雍 (1291–1361)
Left of painting. No signature
Seven characters, seal script4
Artist Inscription: Zhao Yong 趙雍 (1291–1361)
Left of painting. No signature
Seven characters, seal script4
Left of painting. No signature
Seven characters, seal script4
Artist Inscription: Zhao Yong 趙雍 (1291–1361)
Left of painting. No signature
Seven characters, seal script4
Source
https://asia.si.edu/object/F1945.32
Creator
Zhao Yong 趙雍
annotates
Fastening pin: (1) – Imperial workshop, ca. 1764
green jade, carved on obverse with archaic design
carved inscription on reverse, with gold pigment
Thirteen characters, clerical script
乾隆御題：趙雍臨李公麟《人馬圖》
Horse and Groom, after Li Gonglin, by Zhao Yong. Inscribed by the Qianlong emperor.
Outside label slip: Zuo’an 葄盦 (19th century), unidentified
Ink on brown paper slip, glued to outside brocade flap
Thirteen characters, clerical script; plus seven characters, running-standard script
乾隆御題趙雍《臨李公麟〈人馬圖〉》。辛巳嘉平葄盦題。
Horse and Groom, after Li Gonglin, by Zhao Yong, with imperial inscription of the Qianlong
emperor. Jiaping [twelfth] lunar-month of the xinsi year [January 20–Februry 17, 1882?],
inscribed by Zuo’an.1
Frontispiece: Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Dimensions: paper 28.8 x 83.5 cm
mounting 31.5 x 116.5 cm (pale-green silk)
Black imperial ink, on yellow-brown sutra paper
Four large characters, plus two smaller characters, all running script
愛其神駿。御題。
I love its equine nobility.2 Inscribed by the emperor.
Signature: 御
Yu
Seals: (3)
Qingxin shu miaoli『清心抒玅理』(rectangle intaglio) – upper right
Qianlong chenhan『乾隆宸翰』(square relief) – left, under signature
Qinxue haowen『勤學好問』(square intaglio) – left, under signature
Painting: The composition of this picture is copied directly from the first in a group of five
ink paintings of horses and grooms on a handscroll attributed to Li Gonglin 李公麟 (ca. 1049–
1106), known as Wuma tu 五馬圖 (Five Horses).3
Other inscriptions: (1)
Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Painting, center top
8 columns, running script. Poem (4x7).6
性是龍媒形鳳姿，于思左立控鞿羈，貢呈哈薩尋常事，乃信王孫非炫奇。甲申新春，御題
。
In character it is a dragon, and like a phoenix in form, At
its left, a bearded groom grips its bridle and reins.
Kazakh traders bringing tribute is a commonplace affair,
So We are sure the noble scion was not just showing off.
Early spring in the jiashen year [February 2–March 2, 1764], inscribed by the emperor.
Signature: 御
Yu
Date: 甲申新春
Early spring in the jiashen year [February 2–March 2, 1764]
Seals: (1)
Qianlong『乾』『隆』(linked circle-square relief)
Colophons: (1) – Wu Kuan 吳寬 (1436–1504) — forgery7
Separately mounted. Paper dimensions: 31.5 x 51.5 cm
12 columns, running script
予嘗觀唐陳閎馬圖，歎其精絕。今見仲穆臨李伯時之作，真能繼之。至于番人牽馬，尤極
其態，『所謂心合意會』，又不止于『雲滿身』者。此圖仲穆寫寄其 8 [地] 弟奕者，後入崑山
顧仲瑛家。蓋自古千里之足，骨朽無遺，而二百餘年，颯爽之氣，猶宛然尺素間，又何天
閑十二之足誇哉。延陵吳寬題。
I once saw a horse painting by Chen Hong of the Tang dynasty and could only sigh at its
exquisite artistry, but looking now at Zhongmu’s [Zhao Yong’s] copy of a work by Li Boshi, I
see that he is truly able to carry on as his successor.9 As for the Central Asian leading the horse,10
[Zhao] has captured his demeanor to the utmost, [so when he wrote] ―it is a work that, as they
say, totally agrees with my mental concept,‖ he was not just referring to the [horse’s]
―cloudcovered form.‖11 This picture was painted by Zhongmu for his younger brother Yi, and
later came into the collection of Gu Zhongying from Kunshan.12 Since antiquity, the bones of
thousand-league horses have rotted away leaving nothing behind, yet after more than two
hundred years, the vigor and vitality of this [painted] steed remain the same as ever on this length of silk. What horse in the Twelve Celestial Stables can boast as much?13 Inscribed by Wu Kuan
from Yanling.
Signature: 吳寬
Wu Kuan
Date: none
Seals: (2)
Yanling『延陵』(rectangle relief) – upper right
Yuanbo『原博』(square relief) – lower left
green jade, carved on obverse with archaic design
carved inscription on reverse, with gold pigment
Thirteen characters, clerical script
乾隆御題：趙雍臨李公麟《人馬圖》
Horse and Groom, after Li Gonglin, by Zhao Yong. Inscribed by the Qianlong emperor.
Outside label slip: Zuo’an 葄盦 (19th century), unidentified
Ink on brown paper slip, glued to outside brocade flap
Thirteen characters, clerical script; plus seven characters, running-standard script
乾隆御題趙雍《臨李公麟〈人馬圖〉》。辛巳嘉平葄盦題。
Horse and Groom, after Li Gonglin, by Zhao Yong, with imperial inscription of the Qianlong
emperor. Jiaping [twelfth] lunar-month of the xinsi year [January 20–Februry 17, 1882?],
inscribed by Zuo’an.1
Frontispiece: Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Dimensions: paper 28.8 x 83.5 cm
mounting 31.5 x 116.5 cm (pale-green silk)
Black imperial ink, on yellow-brown sutra paper
Four large characters, plus two smaller characters, all running script
愛其神駿。御題。
I love its equine nobility.2 Inscribed by the emperor.
Signature: 御
Yu
Seals: (3)
Qingxin shu miaoli『清心抒玅理』(rectangle intaglio) – upper right
Qianlong chenhan『乾隆宸翰』(square relief) – left, under signature
Qinxue haowen『勤學好問』(square intaglio) – left, under signature
Painting: The composition of this picture is copied directly from the first in a group of five
ink paintings of horses and grooms on a handscroll attributed to Li Gonglin 李公麟 (ca. 1049–
1106), known as Wuma tu 五馬圖 (Five Horses).3
Other inscriptions: (1)
Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Painting, center top
8 columns, running script. Poem (4x7).6
性是龍媒形鳳姿，于思左立控鞿羈，貢呈哈薩尋常事，乃信王孫非炫奇。甲申新春，御題
。
In character it is a dragon, and like a phoenix in form, At
its left, a bearded groom grips its bridle and reins.
Kazakh traders bringing tribute is a commonplace affair,
So We are sure the noble scion was not just showing off.
Early spring in the jiashen year [February 2–March 2, 1764], inscribed by the emperor.
Signature: 御
Yu
Date: 甲申新春
Early spring in the jiashen year [February 2–March 2, 1764]
Seals: (1)
Qianlong『乾』『隆』(linked circle-square relief)
Colophons: (1) – Wu Kuan 吳寬 (1436–1504) — forgery7
Separately mounted. Paper dimensions: 31.5 x 51.5 cm
12 columns, running script
予嘗觀唐陳閎馬圖，歎其精絕。今見仲穆臨李伯時之作，真能繼之。至于番人牽馬，尤極
其態，『所謂心合意會』，又不止于『雲滿身』者。此圖仲穆寫寄其 8 [地] 弟奕者，後入崑山
顧仲瑛家。蓋自古千里之足，骨朽無遺，而二百餘年，颯爽之氣，猶宛然尺素間，又何天
閑十二之足誇哉。延陵吳寬題。
I once saw a horse painting by Chen Hong of the Tang dynasty and could only sigh at its
exquisite artistry, but looking now at Zhongmu’s [Zhao Yong’s] copy of a work by Li Boshi, I
see that he is truly able to carry on as his successor.9 As for the Central Asian leading the horse,10
[Zhao] has captured his demeanor to the utmost, [so when he wrote] ―it is a work that, as they
say, totally agrees with my mental concept,‖ he was not just referring to the [horse’s]
―cloudcovered form.‖11 This picture was painted by Zhongmu for his younger brother Yi, and
later came into the collection of Gu Zhongying from Kunshan.12 Since antiquity, the bones of
thousand-league horses have rotted away leaving nothing behind, yet after more than two
hundred years, the vigor and vitality of this [painted] steed remain the same as ever on this length of silk. What horse in the Twelve Celestial Stables can boast as much?13 Inscribed by Wu Kuan
from Yanling.
Signature: 吳寬
Wu Kuan
Date: none
Seals: (2)
Yanling『延陵』(rectangle relief) – upper right
Yuanbo『原博』(square relief) – lower left
Abstract
23 Total
1. Unidentified seals, pre-Qianlong14 – (6)
Zhonggui『中圭』 15 (rectangle relief) – painting, lower right – 1 of 2
Zhonggui『中圭』(rectangle relief) – painting, lower left – 2 of 2
Ma Yulin yin『馬玉麟印』(square intaglio) – painting, middle right – 1 of 216
Ma Yulin yin『馬玉麟印』(square intaglio) – painting, lower left – 2 of 2
Haichang Zhao Guoshen Junyu tushu『海昌趙郭詵君玉圖書』(square relief) – painting,
lower left
Siyou shanfang tushu『四友山房圖書』(square relief) – painting, lower left
2. Hongli 弘曆, the Qianlong emperor 乾隆 (1711–1799; reigned 1735–96) – (12)
Qianlong yulan zhi bao『乾隆御覽之寶』(oval relief) – painting, upper right
Shiqu baoji『石渠寶笈』(rectangle relief) – painting, right
Chunhuaxuan tushu zhenmi bao『 淳化軒圖書珍秘寶』(square intaglio) – painting, above
horse17
Gu xi tianzi『古希天子』(circle relief) – painting, right of artist signature
Shou『壽』(rectangle intaglio) – painting, right of artist signature
Bazheng maonian zhi bao『八徵耄念之寶』(square relief) – painting, right of signature
Chunhuaxuan『淳化軒』(rectangle relief) – painting, left of artist signature
Qianlong chenhan『乾隆宸翰』(square intaglio) – painting, left of artist signature
Xintian zhuren『信天主人』(square relief) – painting, left of artist signature
Qianlong jianshang『乾隆鑑賞』(circle intaglio) – painting, left
Sanxitang jingjian xi『三希堂精鑑璽』(rectangle relief) – painting, left
Yi zisun『宜子孫』(square intaglio) – painting, left
3. Yongyan 顒琰, the Jiaqing emperor 嘉慶 (1760–1820; reigned 1796–1820) – (3 seals)
Jiaqing yulan zhi bao『嘉慶御覽之寶』(square relief) – painting, above groom
Baoji sanbian『寶笈三編』(square relief) – painting, right
Jiaqing jianshang『嘉慶鑒賞』(rectangle relief) – painting/mounting silk 3 join, top
4. Unidentified seals, post-Jiaqing – (2 seals)18
Enling zhenmi『恩齡珍祕』(square intaglio) – mounting silk 2/painting join, bottom – 1/2
Enling zhenmi『恩齡珍祕』(square intaglio) – painting, lower left – 2/2
1. Unidentified seals, pre-Qianlong14 – (6)
Zhonggui『中圭』 15 (rectangle relief) – painting, lower right – 1 of 2
Zhonggui『中圭』(rectangle relief) – painting, lower left – 2 of 2
Ma Yulin yin『馬玉麟印』(square intaglio) – painting, middle right – 1 of 216
Ma Yulin yin『馬玉麟印』(square intaglio) – painting, lower left – 2 of 2
Haichang Zhao Guoshen Junyu tushu『海昌趙郭詵君玉圖書』(square relief) – painting,
lower left
Siyou shanfang tushu『四友山房圖書』(square relief) – painting, lower left
2. Hongli 弘曆, the Qianlong emperor 乾隆 (1711–1799; reigned 1735–96) – (12)
Qianlong yulan zhi bao『乾隆御覽之寶』(oval relief) – painting, upper right
Shiqu baoji『石渠寶笈』(rectangle relief) – painting, right
Chunhuaxuan tushu zhenmi bao『 淳化軒圖書珍秘寶』(square intaglio) – painting, above
horse17
Gu xi tianzi『古希天子』(circle relief) – painting, right of artist signature
Shou『壽』(rectangle intaglio) – painting, right of artist signature
Bazheng maonian zhi bao『八徵耄念之寶』(square relief) – painting, right of signature
Chunhuaxuan『淳化軒』(rectangle relief) – painting, left of artist signature
Qianlong chenhan『乾隆宸翰』(square intaglio) – painting, left of artist signature
Xintian zhuren『信天主人』(square relief) – painting, left of artist signature
Qianlong jianshang『乾隆鑑賞』(circle intaglio) – painting, left
Sanxitang jingjian xi『三希堂精鑑璽』(rectangle relief) – painting, left
Yi zisun『宜子孫』(square intaglio) – painting, left
3. Yongyan 顒琰, the Jiaqing emperor 嘉慶 (1760–1820; reigned 1796–1820) – (3 seals)
Jiaqing yulan zhi bao『嘉慶御覽之寶』(square relief) – painting, above groom
Baoji sanbian『寶笈三編』(square relief) – painting, right
Jiaqing jianshang『嘉慶鑒賞』(rectangle relief) – painting/mounting silk 3 join, top
4. Unidentified seals, post-Jiaqing – (2 seals)18
Enling zhenmi『恩齡珍祕』(square intaglio) – mounting silk 2/painting join, bottom – 1/2
Enling zhenmi『恩齡珍祕』(square intaglio) – painting, lower left – 2/2
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1945.32
References
Hu Jing 胡敬 (1769–1845) et al, comps. Shiqu baoji sanbian 石渠寶笈三編 (1816). Published
jointly with Midian zhulin sanbian 秘殿珠林三編 (1816). 10 vols. Taibei: National Palace
Museum, 1969. Vol. 7, 3307–08.
Gao Shixian 高時顯 (1878–1952). Zhao Zhongmu lin Li Boshi “Renma juan” 趙仲穆臨李伯時
《人馬卷》. Shanghai: Zhonghua shuju, (ca. 1930?).19
Vassar College Art Gallery. Chinese Painting: Seventy-fifth anniversary exhibition. Exhbition
catalogue: May 22 to June 10, 1940. Poughkeepsie, NY: Vassar College Art Gallery, [1940].
Plate 4b.
Sirén, Osvald (1879–1966). Chinese Painting: Leading Masters and Principles. 7 vols. New
York: Ronald Press, 1956–58. Vol. 6, plate 27.
Cahill, James F. ―Ch’ien Hsuan and His Figure Paintings.‖ In Archives of the Chinese Art Society
of America 12 (1958): 11–29, esp. figs. 1–3.
Wang Bomin 王伯敏 and Huang Yongquan 黃湧泉. Zhejiang gudai huajia zuopin xuanji 浙江古
代畫家作品選集. Hangzhou: Zhejiang renmin chubanshe, 1958. Plate 30.
Zhuang Shen 莊申. ―Zhao Yong Renma tujuan kao‖ 趙雍《人馬圖卷》考. In Zhuang Shen,
Zhongguo huashi yanjiu 中國畫史研究. Taibei: Zhengzhong shuju, 1959. Pp. 251–64.
Grousset, René (1885–1952). Chinese Art and Culture. New York, Orion press, 1959. P. 248,
bottom.
Fontein, Jan, and Rose Hempel. China, Korea, Japan. Berlin: Propyläen-Verlag, 1968. Plate 164.
Freer Gallery of Art. Freer Gallery of Art: China. Tokyo: Kodansha, 1972. Plate 61 and p. 167.
Lawton, Thomas. Chinese Figure Painting. Washington, DC: David R. Godine, in association
with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 174–77.
Loehr, Max (1903–1988). The Great Painters of China. Oxford: Phaidon Press, 1980. P. 165, fig.
81.
Chang, Yuan-chien. “Jen ch'i t'u and the Horse and Figure Painting of Chao Meng-fu.‖ In
National Palace Museum Bulletin 17.3–4 (July/October 1982): whole issue, esp. plate 6.
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, 232–33 (A21–109).
Steinhardt, Nancy Shatzman. ―Chinese Ladies in the Istanbul Albums.‖ In Ernst J. Grube and
Elinor Sims, eds. Between China and Iran: Paintings from Four Istanbul Albums. London: The
Percival David Foundation, 1985. Pp. 77–84, esp. fig. 78.
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. 4, 181 (no. 115).
Zheng Ming 鄭明. Baima tushuo 百馬圖說. Shanghai: Shanghai huabao chubanshe, 2001. P. 48.
Hong Kong Museum of History. Tianma shenjun: Zhongguo ma de yishu he wenhua 天馬神駿:
中國馬的藝術和文化 (Heavenly Horse: The Horse in Chinese Art and Culture). Exhibition
catalogue. July 16–October 13, 2008. Hong Kong: Hong Kong Museum of History, 2008. P.
49.
jointly with Midian zhulin sanbian 秘殿珠林三編 (1816). 10 vols. Taibei: National Palace
Museum, 1969. Vol. 7, 3307–08.
Gao Shixian 高時顯 (1878–1952). Zhao Zhongmu lin Li Boshi “Renma juan” 趙仲穆臨李伯時
《人馬卷》. Shanghai: Zhonghua shuju, (ca. 1930?).19
Vassar College Art Gallery. Chinese Painting: Seventy-fifth anniversary exhibition. Exhbition
catalogue: May 22 to June 10, 1940. Poughkeepsie, NY: Vassar College Art Gallery, [1940].
Plate 4b.
Sirén, Osvald (1879–1966). Chinese Painting: Leading Masters and Principles. 7 vols. New
York: Ronald Press, 1956–58. Vol. 6, plate 27.
Cahill, James F. ―Ch’ien Hsuan and His Figure Paintings.‖ In Archives of the Chinese Art Society
of America 12 (1958): 11–29, esp. figs. 1–3.
Wang Bomin 王伯敏 and Huang Yongquan 黃湧泉. Zhejiang gudai huajia zuopin xuanji 浙江古
代畫家作品選集. Hangzhou: Zhejiang renmin chubanshe, 1958. Plate 30.
Zhuang Shen 莊申. ―Zhao Yong Renma tujuan kao‖ 趙雍《人馬圖卷》考. In Zhuang Shen,
Zhongguo huashi yanjiu 中國畫史研究. Taibei: Zhengzhong shuju, 1959. Pp. 251–64.
Grousset, René (1885–1952). Chinese Art and Culture. New York, Orion press, 1959. P. 248,
bottom.
Fontein, Jan, and Rose Hempel. China, Korea, Japan. Berlin: Propyläen-Verlag, 1968. Plate 164.
Freer Gallery of Art. Freer Gallery of Art: China. Tokyo: Kodansha, 1972. Plate 61 and p. 167.
Lawton, Thomas. Chinese Figure Painting. Washington, DC: David R. Godine, in association
with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 174–77.
Loehr, Max (1903–1988). The Great Painters of China. Oxford: Phaidon Press, 1980. P. 165, fig.
81.
Chang, Yuan-chien. “Jen ch'i t'u and the Horse and Figure Painting of Chao Meng-fu.‖ In
National Palace Museum Bulletin 17.3–4 (July/October 1982): whole issue, esp. plate 6.
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, 232–33 (A21–109).
Steinhardt, Nancy Shatzman. ―Chinese Ladies in the Istanbul Albums.‖ In Ernst J. Grube and
Elinor Sims, eds. Between China and Iran: Paintings from Four Istanbul Albums. London: The
Percival David Foundation, 1985. Pp. 77–84, esp. fig. 78.
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. 4, 181 (no. 115).
Zheng Ming 鄭明. Baima tushuo 百馬圖說. Shanghai: Shanghai huabao chubanshe, 2001. P. 48.
Hong Kong Museum of History. Tianma shenjun: Zhongguo ma de yishu he wenhua 天馬神駿:
中國馬的藝術和文化 (Heavenly Horse: The Horse in Chinese Art and Culture). Exhibition
catalogue. July 16–October 13, 2008. Hong Kong: Hong Kong Museum of History, 2008. P.
49.
abstract
After Li Gonglin 臨李公麟