Consort Yang Mounting a Horse 楊妃上馬圖
Item
Title
Consort Yang Mounting a Horse 楊妃上馬圖
Description
玉勒雕鞍寵太真，年年秋後幸華清；開元四十萬疋馬，何事騎騾蜀道行。吳興錢選舜
舉。
With jade bridle and ornate saddle He favored Taizhen,
Each year after autumn, They proceeded out to Huaqing.
During Kaiyuan, He owned four-hundred thousand horses, So
why did He ride a donkey and take the road to Shu?
Qian Xuan, [courtesy name] Shunju, from Wuxing
Signature: 錢選舜舉
Qian Xuan, Shunju
Date: none
Seals: (3)
Shunju yinzhang『舜舉印章』(rectangle intaglio) – left, top
Shunju『舜舉』(square relief) – left, middle
Qian Xuan zhi yin『錢選之印』(square intaglio) – left, bottom
舉。
With jade bridle and ornate saddle He favored Taizhen,
Each year after autumn, They proceeded out to Huaqing.
During Kaiyuan, He owned four-hundred thousand horses, So
why did He ride a donkey and take the road to Shu?
Qian Xuan, [courtesy name] Shunju, from Wuxing
Signature: 錢選舜舉
Qian Xuan, Shunju
Date: none
Seals: (3)
Shunju yinzhang『舜舉印章』(rectangle intaglio) – left, top
Shunju『舜舉』(square relief) – left, middle
Qian Xuan zhi yin『錢選之印』(square intaglio) – left, bottom
Source
https://asia.si.edu/object/F1957.14
Creator
Qian Xuan (attributed to) (傳) 錢選
annotates
Wooden box: Label slip attached to hinged lid with clear plastic tape
Ink on gold paper
Ten characters, standard script
元錢選《楊貴妃上馬圖》卷。
Precious Consort Yang Mounting a Horse. Handscroll by Qian Xuan of the Yuan dynasty.
Fastening pin: White jade. Imperial workshop, mid-18 th century (?). Carved on
obverse with archaic design; carved on reverse with text. Crack in jade repaired with gold
clamp.
Eleven characters, standard script
乾隆御賞 : 錢選《楊妃上馬圖》。
Enjoyed by the Qianlong emperor: Consort Yang Mounting a Horse, by Qian Xuan.
Outside label: Unidentified.
Ink on light brown paper.
Seven characters, standard script.
錢選《楊妃上馬圖》。
Consort Yang Mounting a Horse, by Qian Xuan.
Frontispiece: blank sutra paper
Ink on gold paper
Ten characters, standard script
元錢選《楊貴妃上馬圖》卷。
Precious Consort Yang Mounting a Horse. Handscroll by Qian Xuan of the Yuan dynasty.
Fastening pin: White jade. Imperial workshop, mid-18 th century (?). Carved on
obverse with archaic design; carved on reverse with text. Crack in jade repaired with gold
clamp.
Eleven characters, standard script
乾隆御賞 : 錢選《楊妃上馬圖》。
Enjoyed by the Qianlong emperor: Consort Yang Mounting a Horse, by Qian Xuan.
Outside label: Unidentified.
Ink on light brown paper.
Seven characters, standard script.
錢選《楊妃上馬圖》。
Consort Yang Mounting a Horse, by Qian Xuan.
Frontispiece: blank sutra paper
Abstract
11 Total
1. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96) – (8)
Shiqu baoji『石渠寶笈』(rectangle relief) – mid right
Yushufang jiancang bao『御書房鑑藏寶』(oval relief) – mid right
Qianlong yulan zhi bao『乾隆御覽之寶 』(oval relief) – top right
Shiqu dingjian『石渠定鑑』(circle relief) – top right
Baoji chongbian『寶笈重編』(square intaglio) – top right
Qianlong jianshang『乾隆鑒賞』(circle intaglio) – top left
Sanxitang jingjian xi『三希堂精鑑璽 』(rectangle relief) – top left
Yi zisun『宜子孫』(square intaglio) – top left
2. ongyan 顒琰, the Jiaqing 嘉慶 emperor (1760–1820; reigned 1796–1820) – (1)
Jiaqing yulan zhi bao『嘉慶御覽之寶』(square relief) – top right
3. Puyi 溥儀, the Xuantong 宣統 emperor (1906–1967; reigned 1908–12) – (1)
Xuantong yulan zhi bao『宣統御覽之寶』(oval relief) – top center
4. Unidentified – (1)
□ du『□度』(square relief; left half) – bottom right
1. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96) – (8)
Shiqu baoji『石渠寶笈』(rectangle relief) – mid right
Yushufang jiancang bao『御書房鑑藏寶』(oval relief) – mid right
Qianlong yulan zhi bao『乾隆御覽之寶 』(oval relief) – top right
Shiqu dingjian『石渠定鑑』(circle relief) – top right
Baoji chongbian『寶笈重編』(square intaglio) – top right
Qianlong jianshang『乾隆鑒賞』(circle intaglio) – top left
Sanxitang jingjian xi『三希堂精鑑璽 』(rectangle relief) – top left
Yi zisun『宜子孫』(square intaglio) – top left
2. ongyan 顒琰, the Jiaqing 嘉慶 emperor (1760–1820; reigned 1796–1820) – (1)
Jiaqing yulan zhi bao『嘉慶御覽之寶』(square relief) – top right
3. Puyi 溥儀, the Xuantong 宣統 emperor (1906–1967; reigned 1908–12) – (1)
Xuantong yulan zhi bao『宣統御覽之寶』(oval relief) – top center
4. Unidentified – (1)
□ du『□度』(square relief; left half) – bottom right
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1957.14
References
Wang Jie 王杰 (1725–1805) et al., comps. Shiqu baoji xubian 石渠寶笈續編 (1793).
Published jointly with Midian zhulin xubian 秘殿珠林續編 (1793). Facsimile reprint of
1948 ms. copy. 8 vols. Taibei: National Palace Museum, 1971. Vol 4: 1941.
Wang Jie 王杰 (1725–1805) et al., comps. Shiqu baoji xubian 石渠寶笈續編 (1793).
Published jointly with Midian zhulin xubian 秘殿珠林續編 (1793). Facsimile reprint of
1948 ms. copy. 8 vols. Taibei: National Palace Museum, 1971. Vol 4: 1941.
Paintings (An annotated translation of sections Three and Four of Mo-yüan hui-kuan by
An Ch’i). 3 vols. Cambridge, MA: Harvard University, PhD. Thesis, 1970. Vol. 3, 483 and
plate 112.
___________. Chinese Figure Painting. Washington, D.C.: David R. Godine, in
association with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 171–73.
Freer Gallery of Art. Freer Gallery of Art I, China. Tokyo: Kodansha, 1971. Plate 60 and
pp. 166–67, 170.
___________. Masterpieces of Chinese and Japanese Art: Freer Gallery of Art
Handbook. Washington, DC: Freer Gallery of Art, Smithsonian Institution, 1976. P. 50
Steinhardt, Nancy Shatzman. “Chinese Ladies in the Istanbul Albums.” In Islamic Art 1
(1981): 77–84, esp. fig. 77.
Suzuki Kei 鈴木敬 (1920–2007). Chūgoku kaiga shi 中國繪畫史. Tokyo: Yoshikawa
Kōbunkan, 1981. Vol. 1, part 1, 107; and part 2, 86 (plate 95).
__________, 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, 217 (A21–072).
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): pl. 21.
Vandier-Nicolas, Nicole (1908–1987). Translated by Janet Seligman. Chinese Painting:
An Expression of a Civilization. New York: Rizzoli, 1983.
Yang Renkai 楊仁愷. Guobao chenfu lu: Gugong sanyi shuhua jianwen kaolue 國寶沉浮
錄 : 故宮散佚書畫見聞考略. Shanghai: Shanghai renmin meishu chubanshe, 1991. P.
548.
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, 96–97 (no. 54)
Sturman, Peter Charles. “Confronting Dynastic Change: Painting After Mongol
Reunification of North and South China.” In Res 35 (Spring 1999): 153–54, fig. 4.
Cai Xingyi 蔡星儀. “Cong Meiguo suojian Qian Xuan huaji yu yanjiu lun Qian Xuan” 從
美國所見錢選畫迹與研究論錢選. In Meiyuan 美苑 131 (2005.1): 50–54.
Published jointly with Midian zhulin xubian 秘殿珠林續編 (1793). Facsimile reprint of
1948 ms. copy. 8 vols. Taibei: National Palace Museum, 1971. Vol 4: 1941.
Wang Jie 王杰 (1725–1805) et al., comps. Shiqu baoji xubian 石渠寶笈續編 (1793).
Published jointly with Midian zhulin xubian 秘殿珠林續編 (1793). Facsimile reprint of
1948 ms. copy. 8 vols. Taibei: National Palace Museum, 1971. Vol 4: 1941.
Paintings (An annotated translation of sections Three and Four of Mo-yüan hui-kuan by
An Ch’i). 3 vols. Cambridge, MA: Harvard University, PhD. Thesis, 1970. Vol. 3, 483 and
plate 112.
___________. Chinese Figure Painting. Washington, D.C.: David R. Godine, in
association with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 171–73.
Freer Gallery of Art. Freer Gallery of Art I, China. Tokyo: Kodansha, 1971. Plate 60 and
pp. 166–67, 170.
___________. Masterpieces of Chinese and Japanese Art: Freer Gallery of Art
Handbook. Washington, DC: Freer Gallery of Art, Smithsonian Institution, 1976. P. 50
Steinhardt, Nancy Shatzman. “Chinese Ladies in the Istanbul Albums.” In Islamic Art 1
(1981): 77–84, esp. fig. 77.
Suzuki Kei 鈴木敬 (1920–2007). Chūgoku kaiga shi 中國繪畫史. Tokyo: Yoshikawa
Kōbunkan, 1981. Vol. 1, part 1, 107; and part 2, 86 (plate 95).
__________, 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, 217 (A21–072).
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): pl. 21.
Vandier-Nicolas, Nicole (1908–1987). Translated by Janet Seligman. Chinese Painting:
An Expression of a Civilization. New York: Rizzoli, 1983.
Yang Renkai 楊仁愷. Guobao chenfu lu: Gugong sanyi shuhua jianwen kaolue 國寶沉浮
錄 : 故宮散佚書畫見聞考略. Shanghai: Shanghai renmin meishu chubanshe, 1991. P.
548.
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, 96–97 (no. 54)
Sturman, Peter Charles. “Confronting Dynastic Change: Painting After Mongol
Reunification of North and South China.” In Res 35 (Spring 1999): 153–54, fig. 4.
Cai Xingyi 蔡星儀. “Cong Meiguo suojian Qian Xuan huaji yu yanjiu lun Qian Xuan” 從
美國所見錢選畫迹與研究論錢選. In Meiyuan 美苑 131 (2005.1): 50–54.
abstract
Traditionally attributed to Qian Xuan 錢選