Illustrations of “Seventh Month” from the “Odes of Bin” 豳風七月圖
Item
Title
Illustrations of “Seventh Month” from the “Odes of Bin” 豳風七月圖
Description
(none)
Source
https://asia.si.edu/object/F1919.172
Creator
Ma Hezhi (attributed to) (傳) 馬和之
annotates
Outside Label: Songyintang 松蔭堂 (unidentified)2
1 column, standard script, plus two smaller columns, standard script.
宋馬和之《豳風七月圖》卷。文待詔弁首並跋，又王伯榖跋。松蔭堂珍藏。
“Seventh Month” from the “Odes of Bin,” a handscroll by Ma Hezhi of the Song dynasty. With
frontispiece and colophon by Editorial Assistant Wen [Zhengming] and colophon by Wang Bogu
[Wang Zhideng]. Treasured in the collection of Songyintang.3
Frontispiece: Wen Zhengming 文徵明 (1470–1559) — genuine?4
White paper, badly cracked. Dimensions: 28.8 x 85.2 cm
Four large characters; seal script.
豳風舊觀。 徵明。
Ancient Scenes from the “Odes of Bin.‖ [Wen] Zhengming.
Signature: 徵明
Zhengming
Date: none
Seals: (2)
Wen Zhengming yin『文徵明印』(square intaglio) – (1/2)
Zhengzhong『徵仲』(square relief) – (1/2)
Other inscriptions 1: (8) – Anonymous5
Eight inscribed strips of same white paper (possibly waxed?), often badly cracked; one
before each painting.
Each strip: One or two columns, in small standard script. No signature, date, or seals.
Note: First three excerpts contain interlinear glosses quoted directly from the Mao
commentary (not translated), which is indicated in the Chinese text by smaller font and
brackets [ ].
Text One: Mao #154: Stanza 1, lines 7–11, interlinear commentary [not translated]
Text strip, 28.8 x 5.3 cm; painting, 28.8 x 50.1 cm
2 columns, standard script.
三之日于耜[修耒，耜也]，四之日舉趾[民無不舉足而耕]，同我婦子，饁[饋也]彼南畝，田畯[田
大夫也]至喜。
In the days of the Third we plough; / In the days of the Fourth out we step, / Together with our
wives and children, / Bringing hampers to the southern acre, / Where the inspector of fields
comes and is pleased.6
Text Two: Mao #154: Stanza 1, lines 3–6, interlinear commentary [not translated]7
Text strip, 28.8 x 4.1 cm; painting, 28.8 x 48.7 cm.
2 columns, standard script.
一之日觱發[注云: 風寒也]，二之日栗烈[寒氣也]，無衣無褐，何以卒歲？
In the days of the First, frigid winds, / In the days of the Second, bitter cold, / With no robes and
no homespun, / How will we finish the year?
Text Three: Mao #154: Stanza 3, lines 7–11, interlinear commentary [not translated]8
Text strip, 28.8 x 5.4 cm; painting, 28.8 x 50.7 cm.
2 columns, standard script
七月鳴鵙[伯勞也]，八月載績[絲事畢而麻事起]，載玄載黃，我朱孔陽[明也。言其朱色鮮明也]，
為公子裳。
In the seventh month, the shrike cries; / In the eighth month, we spin the thread, / The black
thread and the yellow; / With our red dye so bright / We make robes for our lord.
Text Four: Mao #154: Stanza 4, lines 5–11.
Text strip, 28.8 x 6.0 cm; painting, 28.8 x 50.0 cm.
2 columns; standard script.
一之日于貉，取彼狐狸，為公子裘。二之日其同，載纘武功，言私其豵，獻豜于公。
In the days of the first, we hunt badgers, / And take those foxes and wildcats, / To make fur-robes
for our lord. / In the days of the Second, there is the meet, / Where we rehearse our martial skills,
/ Keeping for ourselves the wild piglets, / And presenting to our lord the three-year boars.
Text Five: Mao #154: Stanza 5, lines 1–6.
Text strip, 28.8 x 5.5 cm; painting, 28.8 x 50.2 cm.
2 columns; standard script. 五月斯螽動股，六月莎雞振羽，七月在野，八月在孙，
九月在戶，十月蟋蟀入我牀下。
In the fifth month, the locust moves its legs, / In the sixth month, the grasshopper shakes its
wings, / In the seventh month, it is in the fields, / In the eight month, it is under the eaves, / In the
ninth month, it is at the door, / In the tenth month, the cricket goes under my bed.
Text Six: Mao #154: Stanza 5, lines 7–11.
Text strip, 28.8 x 5.41 cm; painting, 28.8 x 49.6 cm.
1 column; standard script .
穹室熏鼠，塞向墐戶，嗟我婦子，曰為改歲，入此室處。
We stop up their holes and smoke out the rats, / We block up the windows and plaster the doors:
/ Oh, my wife and children, / The year is now changing, / Let us enter and dwell in this house.
Text Seven: Mao #154: Stanza 7, lines 8–11.
Text strip, 28.8 x 5.7l cm; painting, 28.8 x 45.8 cm.
1 column; standard script.
晝爾于茅，宵爾索綯，亟其乘屋，其始播百榖。
In the morning, we gather reeds, / At night, we twist rope, / And go quickly up on the roof, / That
we may begin to sow our grain.
Text Eight: Mao #154: Stanza 8, lines 1–4.
Text strip, 28.8 x 5.8 cm; painting, 28.8 x 47.9 cm.
1 column; standard script.
二之日鑿冰沖沖，三之日納于凌陰，四之日其蚤，獻羔祭韭。
In the days of the Second, we hack the ice with ringing blows, / In the days of the Third, we
bring it into the cold shed, / In the days of the Fourth, [we rise] before the dawn, / Presenting
lamb roasts and offering garlic.
Other inscriptions 2: (16) – Anonymous
A handwritten numerical marking (numbers one to eight) appears on each text strip,
lower left, while a matching handwritten number appears at the right edge of each
adjoining painting. Each written number is covered by a collector seal; where matching
numbers are close, one seal suffices for both; where the numbers are further apart, each
receives a separate seal..
Colophons: (3) – Two continuously mounted sections of paper, with one colophon on section
1, and two colophons on section 2.
Section 1 dimensions: 28.8 x 91.7 cm
Section 2 dimensions: 28.8 x 92.2 cm
1. Wen Zhengming 文徵明 (1470–1559)
16 columns, running script. 古人圖畫，必有所勸戒而作。此馬和之寫《豳風七月詩
》八幅，凡稼穡、田獵、蠶績之事，莫不纖悉備具。雖不設色，而意態自足，信非和之不
能作也。昔之序《詩》者云 : 『周公陳王業，以告成王』，謂『民之至苦者，莫甚於農，有國有家者，宜思憫之、安之』，故作是詩，備述其艱難。今觀和之此圖，若生於周而處
於豳，古風宛然也。校諸假丹青以為耳目玩者，豈可同日語哉。嘉靖乙卯春，徵明題，時
年八十有六。
When the old masters painted a picture, there had to be some [behavior] to either encourage or
caution against for them to do so. In these eight paintings by Ma Hezhi of the poem ―Seventh
Month‖ from the ―Odes of Bin,‖ everything to do with farming, hunting, and silk-making is
depicted in minute detail, and although he did not apply any color, the manner of expression is
sufficient unto itself to verify that no one but Hezhi could have created them. An early preface to
the Classic of Poetry reads: ―The Duke of Zhou explained the business of kingship to inform
King Cheng,‖ saying that ―as no one among the people suffers more severely than farmers, the
ruler of a country should take pity on them and give them rest,‖ and therefore [the Duke]
composed the poem [Seventh Month] to describe all their hardships and travails.9 Now viewing
these pictures by Hezhi, [the figures in them] look as if they were [actually] born during the
Zhou dynasty and living in the state of Bin, so authentic is their air of antiquity. How can one
even speak on the same day of other versions that make use of mineral pigments in order to
amuse the onlooker! Spring of the yimao year in the Jiajing reign period [1555], inscribed by
[Wen] Zhengming in his eighty-sixth year.
Signature: 徵明
Zhengming
Date: 嘉靖乙卯春
Spring of the yimao year in the Jiajing reign period (1555)
Seals: (2)
Wen Zhengming yin『文徵明印』(square intaglio) – (2/2)
Zhengzhong『徵仲』(square relief) – (2/2)
2. Wang Zhideng 王穉登 (1535–1612)
11 columns, running-standard script.
馬和之《毛詩圖》，余嘗見數卷，皆丹青而無水墨，其前往往高宗御書。惟此卷獨不設色
，而筆法清真古淡，有蕭散閒逸之趣。豈豳人以勤儉開國，蒼姬八百之曆肇迹於此，和之
欲深得其意，不當以金粉丹碧涴其真，故遂作此水墨三昧耶？西子淡妝，勝於濃抹，觀者
必有玄鑒矣。王穉登題。
I have seen several handscrolls of Ma Hezhi‘s Illustrations of the Mao Poems; all were done in
colorful pigments and none in ink, and they frequently have the writing of Emperor Gaozong
[reigned 1127–62] inscribed in front. Only on this one scroll did [Ma Hezhi] not apply any color,
and his brushwork is clear and true with an antique plainness that gives [the paintings] a sense of
relaxed and untrammeled ease. Was it because the people of Bin founded their state on hard
work and frugality, and the whole 800-year course of the [Zhou dynasty] started from this, that
Hezhi wished to capture the idea in a profound way, and as he would not sully the simple truth
with powder of gold and mineral pigments, he therefore created these sublime works in ink? As
to whether Lady West looks more lovely in light make-up or thick, each viewer must use his own
innate discernment.10 Inscribed by Wang Zhideng.
Signature: 王穉登
Wang Zhideng
Date: none
Seals: (2)
Qingyangjun『青羊君』(square intaglio)
Wang Zhideng yin『王穉登印』(square intaglio)
3. Zhang Xigeng 張錫庚 (1801–1861)
Written in pre-drawn grid.
14 columns, standard script.
右宋馬和之《豳風七月篇八圖》水墨畫。和之『畫師吳道元，善用掣筆』。此圖筆意清掣
，氣韻生動：衣摺和暢，有流水行雲之妙；草樹飄逸，有迴風舞雪之觀。雖精工不及龍眠
，而於野田蕭踈之景、農家作苦之勤，情景畢具，理趣無涯。昔『思陵愛其畫，每書《毛
詩》虛，其後令和之為圖』。此圖各段前，均書經文數句，未知為思陵筆否。惟第二段，
乃繪三章『取彼斧斨，以伐遠揚』之義，而所書經文，則首章末數句，與畫不洽。筆蹟亦
與前後不同，想此條失去，經後人補書，未及細審耳。八幅鈐縫有金章宗『群玉中秘』朱
文大印，是曾入金內府者。贉尾有文衡山、王伯榖二跋，古雅可誦；文書得智永筆法，王
書有率更遺意。弁首文待詔篆『豳風舊觀』四字，尤清勁入妙，置諸吳興《千文》中，未
易伯仲。時咸豐四年春仲，書於宣武城南之餘蔭軒，張錫庚題。
At right are eight illustrations of Seventh Month from the Odes of Bin, painted in ink by Ma
Hezhi of the Song dynasty. Hezhi ―took Wu Daoyuan [active ca. 710–760] as his master in
painting and excelled at ‗trembling‘ brushwork.‖11 The brushwork in these illustrations is clear
and ―trembling,‖ and the atmosphere vivid and lively. The folds in the clothing fall gracefully, with the marvelous [quality] of flowing water and moving clouds; the vegetation and trees toss
wildly about with a look of swirling winds and dancing snow. Although Ma‘s artistry does not
come up to that of Longmian [Li Gonglin],12 in the barren prospect of the fields and the bitter toil
of the farmers, the emotional setting [of the work] is fully realized and the internal logic [of the
compositional elements] is without bounds.
Long ago, ―Siling [Emperor Gaozong] loved [Ma Hezhi‘s] painting, and wherever he
left a blank space in transcribing a text from the Mao Poems, he would later command Hezhi to
make an illustration [to fill it].‖13 A few lines from the Classic are written at the front of each
section in this scroll, but I do not know if they are from the brush of Siling or not. Only, the
second section depicts the meaning [of the lines], ―Taking choppers and hatchets / To lop the
far boughs and high,‖ from stanza three, but the text that is written there comprises the closing
few lines of stanza one, which are incompatible with the [adjoining] painting.14 The handwriting
[on this text strip] is also unlike that which appears before and after it, so I imagine that the
[original] strip may have been lost and the [current] text written in by some later person, who
simply did not pay close enough attention.
Impressed on the paper-join of the eighth panel is a large relief seal of Emperor
Zhangzong of the Jin dynasty [that reads], Qunyu zhong mi (Hidden among a host of jades),
which indicates that the scroll was once part of the imperial Jin collection.15 Mounted at the end
are two colophons whose ancient and graceful [writing style] is quite legible, one by Wen
Zhengming and one by Wang Zhideng. Wen‘s calligraphy took its writing style from Zhiyong,
and Wang‘s calligraphy continued the legacy of the [Director of the] Court of the Watches
[Ouyang Xun].16 For the frontispiece, Wen Zhengming wrote four characters in seal script,
―Ancient Scenes from the Odes of Bin,” which are so marvelously clear and strong that if they
were placed next to the Thousand-character Essay by Wuxing [Zhao Mengfu], it would not be
easy to tell which of them was senior and junior.17
Mid-spring month of the fourth year in the Xianfeng reign period [February 27–March 28, 1854],
written and inscribed by Zhang Xigeng at the Hall of Surplus Shade south of Xuanwu City.
Signature: 張錫庚
Zhang Xigeng
Date: 時咸豐四年春仲
mid-spring month of the fourth year in the Xianfeng reign period
[February 27–March 28, 1854]
Seals: (2)
Zhang Xigeng yin『張錫庚印』(square intaglio)
Chang shi『昌氏』(square relief)
1 column, standard script, plus two smaller columns, standard script.
宋馬和之《豳風七月圖》卷。文待詔弁首並跋，又王伯榖跋。松蔭堂珍藏。
“Seventh Month” from the “Odes of Bin,” a handscroll by Ma Hezhi of the Song dynasty. With
frontispiece and colophon by Editorial Assistant Wen [Zhengming] and colophon by Wang Bogu
[Wang Zhideng]. Treasured in the collection of Songyintang.3
Frontispiece: Wen Zhengming 文徵明 (1470–1559) — genuine?4
White paper, badly cracked. Dimensions: 28.8 x 85.2 cm
Four large characters; seal script.
豳風舊觀。 徵明。
Ancient Scenes from the “Odes of Bin.‖ [Wen] Zhengming.
Signature: 徵明
Zhengming
Date: none
Seals: (2)
Wen Zhengming yin『文徵明印』(square intaglio) – (1/2)
Zhengzhong『徵仲』(square relief) – (1/2)
Other inscriptions 1: (8) – Anonymous5
Eight inscribed strips of same white paper (possibly waxed?), often badly cracked; one
before each painting.
Each strip: One or two columns, in small standard script. No signature, date, or seals.
Note: First three excerpts contain interlinear glosses quoted directly from the Mao
commentary (not translated), which is indicated in the Chinese text by smaller font and
brackets [ ].
Text One: Mao #154: Stanza 1, lines 7–11, interlinear commentary [not translated]
Text strip, 28.8 x 5.3 cm; painting, 28.8 x 50.1 cm
2 columns, standard script.
三之日于耜[修耒，耜也]，四之日舉趾[民無不舉足而耕]，同我婦子，饁[饋也]彼南畝，田畯[田
大夫也]至喜。
In the days of the Third we plough; / In the days of the Fourth out we step, / Together with our
wives and children, / Bringing hampers to the southern acre, / Where the inspector of fields
comes and is pleased.6
Text Two: Mao #154: Stanza 1, lines 3–6, interlinear commentary [not translated]7
Text strip, 28.8 x 4.1 cm; painting, 28.8 x 48.7 cm.
2 columns, standard script.
一之日觱發[注云: 風寒也]，二之日栗烈[寒氣也]，無衣無褐，何以卒歲？
In the days of the First, frigid winds, / In the days of the Second, bitter cold, / With no robes and
no homespun, / How will we finish the year?
Text Three: Mao #154: Stanza 3, lines 7–11, interlinear commentary [not translated]8
Text strip, 28.8 x 5.4 cm; painting, 28.8 x 50.7 cm.
2 columns, standard script
七月鳴鵙[伯勞也]，八月載績[絲事畢而麻事起]，載玄載黃，我朱孔陽[明也。言其朱色鮮明也]，
為公子裳。
In the seventh month, the shrike cries; / In the eighth month, we spin the thread, / The black
thread and the yellow; / With our red dye so bright / We make robes for our lord.
Text Four: Mao #154: Stanza 4, lines 5–11.
Text strip, 28.8 x 6.0 cm; painting, 28.8 x 50.0 cm.
2 columns; standard script.
一之日于貉，取彼狐狸，為公子裘。二之日其同，載纘武功，言私其豵，獻豜于公。
In the days of the first, we hunt badgers, / And take those foxes and wildcats, / To make fur-robes
for our lord. / In the days of the Second, there is the meet, / Where we rehearse our martial skills,
/ Keeping for ourselves the wild piglets, / And presenting to our lord the three-year boars.
Text Five: Mao #154: Stanza 5, lines 1–6.
Text strip, 28.8 x 5.5 cm; painting, 28.8 x 50.2 cm.
2 columns; standard script. 五月斯螽動股，六月莎雞振羽，七月在野，八月在孙，
九月在戶，十月蟋蟀入我牀下。
In the fifth month, the locust moves its legs, / In the sixth month, the grasshopper shakes its
wings, / In the seventh month, it is in the fields, / In the eight month, it is under the eaves, / In the
ninth month, it is at the door, / In the tenth month, the cricket goes under my bed.
Text Six: Mao #154: Stanza 5, lines 7–11.
Text strip, 28.8 x 5.41 cm; painting, 28.8 x 49.6 cm.
1 column; standard script .
穹室熏鼠，塞向墐戶，嗟我婦子，曰為改歲，入此室處。
We stop up their holes and smoke out the rats, / We block up the windows and plaster the doors:
/ Oh, my wife and children, / The year is now changing, / Let us enter and dwell in this house.
Text Seven: Mao #154: Stanza 7, lines 8–11.
Text strip, 28.8 x 5.7l cm; painting, 28.8 x 45.8 cm.
1 column; standard script.
晝爾于茅，宵爾索綯，亟其乘屋，其始播百榖。
In the morning, we gather reeds, / At night, we twist rope, / And go quickly up on the roof, / That
we may begin to sow our grain.
Text Eight: Mao #154: Stanza 8, lines 1–4.
Text strip, 28.8 x 5.8 cm; painting, 28.8 x 47.9 cm.
1 column; standard script.
二之日鑿冰沖沖，三之日納于凌陰，四之日其蚤，獻羔祭韭。
In the days of the Second, we hack the ice with ringing blows, / In the days of the Third, we
bring it into the cold shed, / In the days of the Fourth, [we rise] before the dawn, / Presenting
lamb roasts and offering garlic.
Other inscriptions 2: (16) – Anonymous
A handwritten numerical marking (numbers one to eight) appears on each text strip,
lower left, while a matching handwritten number appears at the right edge of each
adjoining painting. Each written number is covered by a collector seal; where matching
numbers are close, one seal suffices for both; where the numbers are further apart, each
receives a separate seal..
Colophons: (3) – Two continuously mounted sections of paper, with one colophon on section
1, and two colophons on section 2.
Section 1 dimensions: 28.8 x 91.7 cm
Section 2 dimensions: 28.8 x 92.2 cm
1. Wen Zhengming 文徵明 (1470–1559)
16 columns, running script. 古人圖畫，必有所勸戒而作。此馬和之寫《豳風七月詩
》八幅，凡稼穡、田獵、蠶績之事，莫不纖悉備具。雖不設色，而意態自足，信非和之不
能作也。昔之序《詩》者云 : 『周公陳王業，以告成王』，謂『民之至苦者，莫甚於農，有國有家者，宜思憫之、安之』，故作是詩，備述其艱難。今觀和之此圖，若生於周而處
於豳，古風宛然也。校諸假丹青以為耳目玩者，豈可同日語哉。嘉靖乙卯春，徵明題，時
年八十有六。
When the old masters painted a picture, there had to be some [behavior] to either encourage or
caution against for them to do so. In these eight paintings by Ma Hezhi of the poem ―Seventh
Month‖ from the ―Odes of Bin,‖ everything to do with farming, hunting, and silk-making is
depicted in minute detail, and although he did not apply any color, the manner of expression is
sufficient unto itself to verify that no one but Hezhi could have created them. An early preface to
the Classic of Poetry reads: ―The Duke of Zhou explained the business of kingship to inform
King Cheng,‖ saying that ―as no one among the people suffers more severely than farmers, the
ruler of a country should take pity on them and give them rest,‖ and therefore [the Duke]
composed the poem [Seventh Month] to describe all their hardships and travails.9 Now viewing
these pictures by Hezhi, [the figures in them] look as if they were [actually] born during the
Zhou dynasty and living in the state of Bin, so authentic is their air of antiquity. How can one
even speak on the same day of other versions that make use of mineral pigments in order to
amuse the onlooker! Spring of the yimao year in the Jiajing reign period [1555], inscribed by
[Wen] Zhengming in his eighty-sixth year.
Signature: 徵明
Zhengming
Date: 嘉靖乙卯春
Spring of the yimao year in the Jiajing reign period (1555)
Seals: (2)
Wen Zhengming yin『文徵明印』(square intaglio) – (2/2)
Zhengzhong『徵仲』(square relief) – (2/2)
2. Wang Zhideng 王穉登 (1535–1612)
11 columns, running-standard script.
馬和之《毛詩圖》，余嘗見數卷，皆丹青而無水墨，其前往往高宗御書。惟此卷獨不設色
，而筆法清真古淡，有蕭散閒逸之趣。豈豳人以勤儉開國，蒼姬八百之曆肇迹於此，和之
欲深得其意，不當以金粉丹碧涴其真，故遂作此水墨三昧耶？西子淡妝，勝於濃抹，觀者
必有玄鑒矣。王穉登題。
I have seen several handscrolls of Ma Hezhi‘s Illustrations of the Mao Poems; all were done in
colorful pigments and none in ink, and they frequently have the writing of Emperor Gaozong
[reigned 1127–62] inscribed in front. Only on this one scroll did [Ma Hezhi] not apply any color,
and his brushwork is clear and true with an antique plainness that gives [the paintings] a sense of
relaxed and untrammeled ease. Was it because the people of Bin founded their state on hard
work and frugality, and the whole 800-year course of the [Zhou dynasty] started from this, that
Hezhi wished to capture the idea in a profound way, and as he would not sully the simple truth
with powder of gold and mineral pigments, he therefore created these sublime works in ink? As
to whether Lady West looks more lovely in light make-up or thick, each viewer must use his own
innate discernment.10 Inscribed by Wang Zhideng.
Signature: 王穉登
Wang Zhideng
Date: none
Seals: (2)
Qingyangjun『青羊君』(square intaglio)
Wang Zhideng yin『王穉登印』(square intaglio)
3. Zhang Xigeng 張錫庚 (1801–1861)
Written in pre-drawn grid.
14 columns, standard script.
右宋馬和之《豳風七月篇八圖》水墨畫。和之『畫師吳道元，善用掣筆』。此圖筆意清掣
，氣韻生動：衣摺和暢，有流水行雲之妙；草樹飄逸，有迴風舞雪之觀。雖精工不及龍眠
，而於野田蕭踈之景、農家作苦之勤，情景畢具，理趣無涯。昔『思陵愛其畫，每書《毛
詩》虛，其後令和之為圖』。此圖各段前，均書經文數句，未知為思陵筆否。惟第二段，
乃繪三章『取彼斧斨，以伐遠揚』之義，而所書經文，則首章末數句，與畫不洽。筆蹟亦
與前後不同，想此條失去，經後人補書，未及細審耳。八幅鈐縫有金章宗『群玉中秘』朱
文大印，是曾入金內府者。贉尾有文衡山、王伯榖二跋，古雅可誦；文書得智永筆法，王
書有率更遺意。弁首文待詔篆『豳風舊觀』四字，尤清勁入妙，置諸吳興《千文》中，未
易伯仲。時咸豐四年春仲，書於宣武城南之餘蔭軒，張錫庚題。
At right are eight illustrations of Seventh Month from the Odes of Bin, painted in ink by Ma
Hezhi of the Song dynasty. Hezhi ―took Wu Daoyuan [active ca. 710–760] as his master in
painting and excelled at ‗trembling‘ brushwork.‖11 The brushwork in these illustrations is clear
and ―trembling,‖ and the atmosphere vivid and lively. The folds in the clothing fall gracefully, with the marvelous [quality] of flowing water and moving clouds; the vegetation and trees toss
wildly about with a look of swirling winds and dancing snow. Although Ma‘s artistry does not
come up to that of Longmian [Li Gonglin],12 in the barren prospect of the fields and the bitter toil
of the farmers, the emotional setting [of the work] is fully realized and the internal logic [of the
compositional elements] is without bounds.
Long ago, ―Siling [Emperor Gaozong] loved [Ma Hezhi‘s] painting, and wherever he
left a blank space in transcribing a text from the Mao Poems, he would later command Hezhi to
make an illustration [to fill it].‖13 A few lines from the Classic are written at the front of each
section in this scroll, but I do not know if they are from the brush of Siling or not. Only, the
second section depicts the meaning [of the lines], ―Taking choppers and hatchets / To lop the
far boughs and high,‖ from stanza three, but the text that is written there comprises the closing
few lines of stanza one, which are incompatible with the [adjoining] painting.14 The handwriting
[on this text strip] is also unlike that which appears before and after it, so I imagine that the
[original] strip may have been lost and the [current] text written in by some later person, who
simply did not pay close enough attention.
Impressed on the paper-join of the eighth panel is a large relief seal of Emperor
Zhangzong of the Jin dynasty [that reads], Qunyu zhong mi (Hidden among a host of jades),
which indicates that the scroll was once part of the imperial Jin collection.15 Mounted at the end
are two colophons whose ancient and graceful [writing style] is quite legible, one by Wen
Zhengming and one by Wang Zhideng. Wen‘s calligraphy took its writing style from Zhiyong,
and Wang‘s calligraphy continued the legacy of the [Director of the] Court of the Watches
[Ouyang Xun].16 For the frontispiece, Wen Zhengming wrote four characters in seal script,
―Ancient Scenes from the Odes of Bin,” which are so marvelously clear and strong that if they
were placed next to the Thousand-character Essay by Wuxing [Zhao Mengfu], it would not be
easy to tell which of them was senior and junior.17
Mid-spring month of the fourth year in the Xianfeng reign period [February 27–March 28, 1854],
written and inscribed by Zhang Xigeng at the Hall of Surplus Shade south of Xuanwu City.
Signature: 張錫庚
Zhang Xigeng
Date: 時咸豐四年春仲
mid-spring month of the fourth year in the Xianfeng reign period
[February 27–March 28, 1854]
Seals: (2)
Zhang Xigeng yin『張錫庚印』(square intaglio)
Chang shi『昌氏』(square relief)
Abstract
15 Total – All 15 seals bridge paper joins between inscribed text strips and
accompanying paintings.
1. Wanyan Jing, Emperor Zhangzong of the Jin dynasty 金章宗完顏璟 (1168–1208; reigned
1190–1208) – (1) – fake
Qunyu zhongmi『群玉中秘』(square relief) – text 8/painting 8, join
2. Unidentified – (14) – same 2 seals, each impressed seven times; probably belonging to same
collector (see ―Other inscriptions 2,‖ above)
Xizhi houyi『羲之後裔』(square relief) – text 1/painting 1, join – (1/7)
Zizi sunsun yongbao yongxiang『子子孫孫永寶用享』(oval relief) – text 1/painting 1,
join – (1/7)
Xizhi houyi『羲之後裔』(square relief) – text 2/painting 2, join – (2/7)
Zizi sunsun yongbao yongxiang『子子孫孫永寶用享』(oval relief) – text 3/painting 3,
join – (2/7)
Xizhi houyi『羲之後裔』(square relief) – text 4/painting 4, join – (3/7)
Zizi sunsun yongbao yongxiang『子子孫孫永寶用享』(oval relief) – text 4/painting 4,
join – (3/7)
Xizhi houyi『羲之後裔』(square relief) – text 5/painting 5, join – (4/7)
Zizi sunsun yongbao yongxiang『子子孫孫永寶用享』(oval relief) – text 5/painting 5,
join – (4/7)
Xizhi houyi『羲之後裔』(square relief) – text 6/painting 6, join – (5/7)
Zizi sunsun yongbao yongxiang『子子孫孫永寶用享』(oval relief) – text 6/painting 6,
join – (5/7)
Xizhi houyi『羲之後裔』(square relief) – text 7/painting 7, join – (6/7)
Zizi sunsun yongbao yongxiang『子子孫孫永寶用享』(oval relief) – text 7/painting 7,
join – (6/7)
Xizhi houyi『羲之後裔』(square relief) – text 8/painting 8, join – (7/7)
Zizi sunsun yongbao yongxiang『子子孫孫永寶用享』(oval relief) – text 8/painting 8,
join – (7/7)
accompanying paintings.
1. Wanyan Jing, Emperor Zhangzong of the Jin dynasty 金章宗完顏璟 (1168–1208; reigned
1190–1208) – (1) – fake
Qunyu zhongmi『群玉中秘』(square relief) – text 8/painting 8, join
2. Unidentified – (14) – same 2 seals, each impressed seven times; probably belonging to same
collector (see ―Other inscriptions 2,‖ above)
Xizhi houyi『羲之後裔』(square relief) – text 1/painting 1, join – (1/7)
Zizi sunsun yongbao yongxiang『子子孫孫永寶用享』(oval relief) – text 1/painting 1,
join – (1/7)
Xizhi houyi『羲之後裔』(square relief) – text 2/painting 2, join – (2/7)
Zizi sunsun yongbao yongxiang『子子孫孫永寶用享』(oval relief) – text 3/painting 3,
join – (2/7)
Xizhi houyi『羲之後裔』(square relief) – text 4/painting 4, join – (3/7)
Zizi sunsun yongbao yongxiang『子子孫孫永寶用享』(oval relief) – text 4/painting 4,
join – (3/7)
Xizhi houyi『羲之後裔』(square relief) – text 5/painting 5, join – (4/7)
Zizi sunsun yongbao yongxiang『子子孫孫永寶用享』(oval relief) – text 5/painting 5,
join – (4/7)
Xizhi houyi『羲之後裔』(square relief) – text 6/painting 6, join – (5/7)
Zizi sunsun yongbao yongxiang『子子孫孫永寶用享』(oval relief) – text 6/painting 6,
join – (5/7)
Xizhi houyi『羲之後裔』(square relief) – text 7/painting 7, join – (6/7)
Zizi sunsun yongbao yongxiang『子子孫孫永寶用享』(oval relief) – text 7/painting 7,
join – (6/7)
Xizhi houyi『羲之後裔』(square relief) – text 8/painting 8, join – (7/7)
Zizi sunsun yongbao yongxiang『子子孫孫永寶用享』(oval relief) – text 8/painting 8,
join – (7/7)
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1919.172
References
Zhao Yancheng 趙彥稱 (1819–1881). Sanyuantang yimo 三願堂遺墨. 2 vols. Shanghai:
Shangwu yinshuguan, 1930. Vol. 2. No pagination (21a).
Kohara Hironobu 古原宏伸. ―Shikyōzu to Kōkyōzu‖ 詩經圖と孝經圖. In Bijutsushi 美術史
72
[or 18.4] (March 1969): 109–26 (esp. 109–19, 125–26).
Lawton, Thomas. Chinese Figure Painting. Washington, DC: David R. Godine in association
with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 48–53.
Murray, Julia K. Song Kao-tsung, Ma Ho-chih, and the Mao Shih Scrolls: Illustrations of the
Classic of Poetry. Phd. Dissertation, Princeton University, 1981. Pp. 34–39, figs. 15–1 to 15–8.
__________. Ma Hezhi and the Illustration of the Book of Odes. New York: Cambridge
University Press, 1993. Pp. 143–47.
__________. ―Illustrations of ‗Seventh Month‘ in the Odes of Pin.‖ In National Palace
Museum Bulletin 32.2 (May-June 1997) and 32.3 (July-August 1997): 1–51.
__________. ―Patterns of Evolution in Chinese Illustration: Expansion or Epitomization?‖ In
Cary Y. Liu and Dora C. Y. Ching, eds. Arts of the Sung and Yuan: Ritual, Ethnicity, and Style in
Painting. Princeton: The Art Museum, Princeton University, 1999. Pp. 120–51.
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, 226–27 (A21–091).
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. Pp. 48–49.
Xu Bangda. ―The Mao Shih Scrolls: Authenticity and Other Issues.‖ In Alfreda Murck and Wen
C. Fong, eds. Words and Images: Chinese Poetry, Calligraphy, and Painting. Princeton: The
Metropolitan Museum of Art and Princeton University Press, 1991. Pp. 267–88. [Note: does not
discuss Freer painting]
Shangwu yinshuguan, 1930. Vol. 2. No pagination (21a).
Kohara Hironobu 古原宏伸. ―Shikyōzu to Kōkyōzu‖ 詩經圖と孝經圖. In Bijutsushi 美術史
72
[or 18.4] (March 1969): 109–26 (esp. 109–19, 125–26).
Lawton, Thomas. Chinese Figure Painting. Washington, DC: David R. Godine in association
with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 48–53.
Murray, Julia K. Song Kao-tsung, Ma Ho-chih, and the Mao Shih Scrolls: Illustrations of the
Classic of Poetry. Phd. Dissertation, Princeton University, 1981. Pp. 34–39, figs. 15–1 to 15–8.
__________. Ma Hezhi and the Illustration of the Book of Odes. New York: Cambridge
University Press, 1993. Pp. 143–47.
__________. ―Illustrations of ‗Seventh Month‘ in the Odes of Pin.‖ In National Palace
Museum Bulletin 32.2 (May-June 1997) and 32.3 (July-August 1997): 1–51.
__________. ―Patterns of Evolution in Chinese Illustration: Expansion or Epitomization?‖ In
Cary Y. Liu and Dora C. Y. Ching, eds. Arts of the Sung and Yuan: Ritual, Ethnicity, and Style in
Painting. Princeton: The Art Museum, Princeton University, 1999. Pp. 120–51.
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, 226–27 (A21–091).
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. Pp. 48–49.
Xu Bangda. ―The Mao Shih Scrolls: Authenticity and Other Issues.‖ In Alfreda Murck and Wen
C. Fong, eds. Words and Images: Chinese Poetry, Calligraphy, and Painting. Princeton: The
Metropolitan Museum of Art and Princeton University Press, 1991. Pp. 267–88. [Note: does not
discuss Freer painting]
abstract
Traditionally attributed to Ma Hezhi 馬和之