Wind and Snow in the Fir-pines 風雪杉松圖
Item
Title
Wind and Snow in the Fir-pines 風雪杉松圖
Description
Painting: On one piece of silk. With artist signature and one (1) seal.
Artist Inscription: Li Shan 李山 (active late 12th–early 13th century)
Painting, right edge
Five characters, standard script.
平陽李山製
Made by Li Shan of Pingyang.
Signature: 李山
Li Shan
Date: none
Seals: (1)
Pingyang『平陽』(rectangle intaglio)
Artist Inscription: Li Shan 李山 (active late 12th–early 13th century)
Painting, right edge
Five characters, standard script.
平陽李山製
Made by Li Shan of Pingyang.
Signature: 李山
Li Shan
Date: none
Seals: (1)
Pingyang『平陽』(rectangle intaglio)
Source
https://asia.si.edu/object/F1961.34a-c
Creator
Li Shan 李山
annotates
Fastening pin: Imperial workshop, mid-18th century.
Green jade. With archaic motif carved on obverse, and engraved inscription on reverse
Eleven characters, in bafen script, highlighted in gold pigment
乾隆御詠：李山《風雪杉松圖》
Wind and Snow in the Fir-pines, by Li Shan; [with] poem by His Majesty Qianlong.
Outside Label: Fei Nianci 費念慈 (1855–1905)
Fifteen characters, in standard script
金李山《風雪杉松圖》。辛丑祀竈月，西蠡。
Wind and Snow in the Fir-pines, by Li Shan of the Jin dynasty. [Inscribed] in the month of
sacrificing to the god of the hearth [the twelfth lunar month] in the xinchou year [January 10–
February 7, 1902], Xili [Fei Nianci].
Signature: 西蠡
Xili
Date: 辛丑祀竈月
in the month of sacrificing to the god of the hearth [the twelfth lunar
month] in the xinchou year [January 10–February 7, 1902]
Seal: (1)
Zhijun『直君』(square intaglio)
Frontispiece: Song dynasty? Blank, unprinted sutra paper; with one (1) seal of Buddhist
temple.1
Seal: (1)
Faxi dacang『法喜大藏』(rectangle relief)
Inside Label: Attributed to Wang Zhideng 王穉登 (1535–1612)2
Affixed to mounting silk 2, upper right.
Seven characters, standard script
李山《風雪杉松圖》
Wind and Snow in the Fir-pines, by Li Shan
Other Inscriptions: (1) – Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned
1735–96)
8 columns, running script. Poem (4x7).
千峰如睡玉為皴，落落孥空本色真，茅屋把書寒不輟，斯人應是友松人。乾隆御題。
[Poem not translated]. Inscribed by the Qianlong emperor.
Signature: 乾隆御
the Qianlong emperor
Date: none (late November 1748)3
Seals: (2)
De jiaqu『得佳趣』(square intaglio)
Jixia yiqing『幾暇怡情』(square intaglio)
Colophons: (6) – Five sheets of paper with six colophons, plus one sheet with three (3)
collector seals only.
1. Wang Tingyun 王庭筠 (1151–1202)
Two joined sheets of gray paper.
11 columns, running script. Poem (4x7).
繞院千千萬
萬峰，滿天風雪打杉松，地壚火暖黃昏睡，更有何人似我慵。
此參寥詩，非本色住山人，不能作也。黃華真逸書。書後客至，曰賈島詩也。未知孰是。
Surrounding the yard—a thousand, ten-thousand peaks,
Filling the sky, wind and snow smite the fir-pines. Fire
glows in the ground stove, at dusk I fall asleep, Is there
anyone else in the world so indolent as I?
This is a poem by Canliao [11th century]. Only one with a natural inclination to live among
mountains could have composed it. Inscribed by the True Recluse of Huanghua [Yellow Flower
Mountain]. A visitor came after I had written this, who said that the poem is by Jia Dao [779–
849], but I do not know who is right.4
Signature: 黃華真逸
True Recluse of Huanghua [Yellow Flower Mountain]
Date: none
Seals: none
2. Wang Wanqing 王萬慶 (ca. 1185–ca. 1262)
One sheet of same gray paper, joined to above.
Additional strip of mounting paper at left.
11 columns, running-standard script
此老在泰和間，猶入直于祕書監。予始識之，時年幾八十矣，而精力不少衰。每于屋壁間
喜作大樹石，退而睨之，乃自歎曰：『今老矣，始解作畫！』。非真積力久，功夫至到，
其融渾成就處，斷未易省識。今觀此《風雪杉松圖》，其精緻如此。至敹年自負其能，亦
未為過，而世俗豈能真有知之者？故先人翰林書前人詩以品題之，蓋將置此老于古人之地
也。覽之『使人增感』云。癸卯六月廿有二日，萬慶謹書。
During the Taihe reign period [1201–09], this old fellow [Li Shan] was still serving as Director of
the Palace Library, and though he was indeed nearly eighty when I first made his acquaintance,
his energy had not diminished in the slightest. Whenever he felt happy about some mural he had
painted of great trees and rocks, he would step back and squint at it, then sigh to himself saying,
―Now that I’m old, I’m beginning to understand how to paint!‖ Had he truly not built up his
strength for a long time and attained such a level of proficiency, his harmonious achievement
certainly would not be so easy to know. Now the skill and finesse one sees in Wind and Snow in
the Fir-pines are like this. But while it is no fault for someone late in years to trust in his own
ability, can anyone in the mundane world truly understand him? Therefore when my deceased
father [Wang Tingyun, who was a member of ] the Hanlin Academy, wrote out the poem by
some earlier person as an appraisal [of Li’s character], it must have been to place the old fellow
on the same ground as the ancient masters. Reading at it, as they say, ―makes one feel more
deeply.‖ Twenty-second day in the sixth lunar-month of the guimao year [July 10, 1243],
respectfully written by [Wang] Wanqing.
Signature: 萬慶
Wanqing
Date: 癸卯六月廿有二日
Twenty-second day in the sixth lunar-month of the guimao year [July 10,
1243]
Seals: (1)
illegible (square intaglio)
3. Wang Shizhen 王世貞 (1526–1590)\
One sheet of white paper.
14 columns, standard and running script. Includes two poems (each 4x7).
右金秘書監李山畫《風雪杉松圖》，而黃華老人王庭筠題參寥詩於後。二君皆宋名家子，
為完顏氏禁近有聲。余偶得二絕句，題其後云：『撲地漫天卒未休，松杉千尺迥堪愁，丹
青不作王孫草，老向明天共白頭』。又，『朝色蔥曨映碧虛，千峰瑤草漸凋踈，何當長白
山頭樹，到了枝枝玉不如』。今二君而在，不免泚顙。然李用筆瀟洒，清絕有致，出蹊逕
外；庭筠翩翩，遂入海岳庵三昧，皆可寶也。此君僅四十有七而沒，然時時自稱黃華老人
，極可笑。跋後所謂萬慶者，仕至行省右司郎中，金史誤作『曼慶』，當以此為正。隆慶
戊辰夏六月，吳郡王世貞謹題。
At right is the picture Wind and Snow in the Fir-pines painted by Li Shan, Director of the Palace
Library during the Jin dynasty. Following it Old Man Yellow Flower, Wang Tingyun, inscribed a
poem by Canliao [see Colophon 1]. Both gentlemen were descendents of famous Song-dynasty
families and were renowned courtiers close to the [imperial] Wanyan clan. I have casually
composed two quatrains to inscribe at the end [of the scroll], as follows: [poems not translated].5
If the two gentlemen [Li and Wang] were here today, I’d not be able to stop perspiring [from
embarassment]. For Li’s brushwork is free and easy, exceptionally clear and fine, and goes
outside the normal path, while [Wang] Tingyun’s [calligraphy] is smooth and elegant, and
achieves the samadhi [full realization] of Haiyue’an [Mi Fu, 1051–1107]. Both [works] can be
treasured. The [latter] gentleman was barely in his forty-seventh year when he died, yet he
always referred to himself as Old Man Yellow Flower, which is extremely funny. At the end of
the [second] colophon, the person who calls himself Wanqing attained the rank of Bureau
Director of the Right Office in the Branch Secretariat. The History of the Jin Dynasty mistakenly
writes [his name as] Manqing, so one should use the [signature] here to correct [this error].6
Summer, sixth lunar-month of the wuchen year in the Longqing reign period [June 25–July 23,
1568], respectfully inscribed by Wang Shizhen of Wujun.7
Signature: 王世貞
Wang Shizhen
Date: 隆慶戊辰夏六月
Summer, sixth lunar-month of the wuchen year in the Longqing reign
period (June 25–July 23, 1568)
Seals: (2)
Wang Yuanmei yin『王元美印』(square intaglio)
Tiantao jushi『天弢居士』(square intaglio)
4. Wen Boren 文伯仁 (1502–1575)
One sheet of white paper, together with Colopho
5 columns; running-standard script
n 5.
此卷向嘗觀于金陵，每在夢想，今復得再觀，不勝欣慰。時友人錢叔寶、顧季狂、尤子求
在坐。記之者，五峰山人文伯仁也。隆慶戊辰六月既望大暑中，敬 8 元 美出此，真奇賞哉
！
I previously saw this scroll in Jinling [modern Nanjing], and it has remained in my dreams [ever
since], so I am overcome with joy to have the opportunity now to see it again. My friends Qian
Shubao [Qian Gu, 1508–after 1578], Gu Jikuang [Gu Shengzhi, active late-16th century], and
You Ziqiu [You Qiu, active ca. 1670–1690], are seated here with me.9 The one recording this
[event] is Wufeng shanren, Wen Boren. On the day after the full moon [sixteenth day] in the
sixth lunar-month of the wuchen year in the Longqing reign period [July 10, 1568], during the
period of Great Heat, [the brothers] Jingmei [Wang Shimao, 1536–1588] and Yuanmei [Wang
Shizhen, 1526–1590]10 brought out this [painting for us to see]. It was truly a rare viewing
experience!
Signature: 五峰山人文伯仁
Wufeng Shanren, Wen Boren
Date: 隆慶戊辰六月既望大暑中
during the period of Great Heat, on the day after full moon [the sixteenth
day] in the sixth lunar-month of the wuchen year in the Longqing reign
period [July 10, 1568]
Seals: none
5. Text by Peng Qifeng 彭啟豐 (1701–1784)11
Calligraphy by Wang Wenzhi 王文治 (1730–1802)
Same sheet of white paper, together with Colophon 4.
22 columns, standard script; with explanatory postscript.
乾隆二十八年春孟六日，皇帝御重華宮，召廷臣共二十四人賜宴，臣啟豐蒙恩與焉。有頃
，御製律詩二章，既命臣等賡和，又特頒內府鑒藏名人畫卷各一。臣啟豐得《風雪杉松圖
》，頓首祗受。宴畢攜歸邸舍，展閱是圖，為金泰和間祕書監李山畫，係絹本。凡大小杉
松十一樹，諸峰層列，隱隱有寒沍色。茅屋蕭然，有人據案執卷。堂前眾樹聳立，直榦喬
枝風雪中，不可撓屈，元陰蘢蓯，又若俯翳其下。蓋金去宋未遠，其樹石皴染，皆守宋人
家法。後有黃華真逸王庭筠書參寥詩，明王世貞跋稱其筆法直入海岳之室。黃華之子萬慶
續為之題，而弇州山人稿又謂李山此卷『用筆瀟洒，出蹊逕外』。然則此圖自完顏氏以來
，膾炙名賢且數百載。伏讀御製七言絕句，意思深長，豪端渾脫，圓神方智，別具罏錘。
此卷足以不朽矣。抑臣啟豐於客，冬奉命擢左都御史，天章下賁，凜然勉以後凋之
節。皇極所敷，使樗櫟下材，蒙被雨露，克終保其天，而免於斧斤之患，誠不勝厚幸焉。
其籤碧玉，為之刻『乾隆御詠：李山《風雪杉松圖》』八分十一字。其印章：曰『石渠寶
笈』、曰『三希堂精鑒璽』、曰『乾隆御覽之寶』、曰『宜子孫』、曰『得佳趣』、曰
『幾暇怡情』、曰『乾隆鑑賞』、曰『珍祕』、曰『子孫保之』。舊有：『平陽』、『乾
坤清賞』、『有明王氏圖書之印』、『江表黃琳』、『休伯』、『安儀周家珍藏』、『梁
清標印』、『蕉林鑒定』、『蕉林祕玩』、『鼎元』、『仲雅』、『顧九德』、『嚴澤』
、『張羽鈞』之印。其在後方者，不具錄。前有標題七字，當是明王穉登書。賜進士
及第、光祿大夫、都察[左]
12院左都御史、直南書房臣彭啟豐敬記。
御賜大司馬彭公金李山《風雪杉松圖》卷。公恭紀顛末，未及自書。頃公已下世，公子紹
升屬前翰林侍讀王文治補書。時乾隆五十一年夏孟九日。
On the sixth day of the first spring month in the twenty-eighth year of the Qianlong reign-period
[February 18, 1763], the August Emperor rode to the Chonghua Palace and summoned court
ministers, altogether twenty-four in number, to be given a banquet, and I your subject [Peng]
Qifeng, received the Imperial Favor to be among them. After a while, His Majesty composed two
stanzas of regulated verse and commanded His ministers and others [to create] matching poems,
and He also made a special gift to each [of the twenty-four courtiers] of a scroll from the Imperial
Household Collection painted by a famous artist. I your subject [Peng] Qifeng received Wind and
Snow in the Fir-pines, bowing my head respectfully to accept [the scroll]. After the banquet, I took it back to my official residence and rolled out the picture to examine it. [The painting] was
done on silk by Li Shan, the Director of the Palace Library during the Taihe reign period [1201–
09] of the Jin dynasty. There are a total of eleven fir-pines large and small, and ranges of peaks in
serried ranks, unclear and indistinct with a cold and freezing look. The thatched hut is desolate
and bare, and there is a person [inside] grasping the table and holding a scroll. In front of the hall,
a stand of trees towers up, with straight trunks and lofty branches lifting into the snowy wind.
They cannot be cowed or made to bend, and stay luxuriantly green [throughout the winter
season] of the Primal Yin, seeming to lean over and shelter what lies below. As the Jin dynasty
was not very long after the [Northern] Song, the texture strokes and use of [ink] wash on the trees
and stones were influenced by the styles of Song-dynasty artists. Following [the painting] is a
poem of Canliao [11th century] written out by the True Recluse of Yellow Flower [Mountain],
Wang Tingyun. The colophon by Wang Shizhen of the Ming dynasty [see Colophon 3, above]
praises his calligraphy [by stating that] his style of brushwork directly entered the chamber of
Haiyue
[Mi Fu, 1051–1107]. Yellow Flower’s son, [Wang] Wanqing, added a further inscription to [the
scroll]. The manuscript by the Mountain Man of Yanzhou [Wang Shizhen] says that in this scroll
Li Shan’s ―brushwork is free and easy, and goes outside the normal path.‖ All this being so, then
from the [imperial] Wanyan clan [of the Jin dynasty] on down, this picture has been relished by
famous worthies for several hundred years. I humbly read the quatrain in seven-character lines
composed by His Majesty, and its thought is profound and eternal. The brushwork is effortless
and untrammeled, the round [strokes are done] with spirit and the square with intelligence, each
one specially forged and tempered. This scroll is worthy indeed of immortality! During the
winter, when I your subject [Peng] Qifeng was in residence [at court], I received the Imperial
Command promoting me to Left Censor-in-Chief. The Celestial Certificate descended, sternly
enjoining me to maintain the moral integrity [of the pine], which is the last to wither [in winter].
As the Dispensation of the August Throne caused [me], this inferior timber of ailanthus and
chestnut oak, to receive [the benefits of] rain and dew and shall forever safeguard their days,
averting all harm from axe and hatchet, I was truly overwhelmed by [the Emperor’s] Generosity
and Kindness. He had the [scroll’s] fastening pin of green jade carved with eleven characters in
clerical script [reading], “Wind and Snow in the Fir-pines, by Li Shan; [with] a poem by His
Majesty Qianlong.‖ His seals [on the painting] read: Shiqu baoji, Sanxitang jingjian xi, Qianlong
yulan zhi bao, Yi zisun, De jiaqu, Jixia yiqing, Qianlong jianshang, Zhenmi,13 and Zisun bao zhi.
[The scroll also] has earlier [seals reading]: Pingyang, Qiankun qingshang, You Ming Wang shi
tushu zhi yin, Jiangbiao Huang Lin, Xiubo, An Yizhou jiazhencang, Liang Qingbiao yin, Jiaolin
jianding, Jiaolin miwan, Dingyuan,14Zhongya, Gu Jiude,15Yan Ze, and Zhang Yujun.
16 I have not
transcribed the collector seals on the [colophon] section behind [the painting]. The
sevencharacter [text] on the inside label slip in front [of the painting] must have been written by
Wang Zhideng [1535–1612] of the Ming dynasty. Respectfully recorded by the Metropolitan
Graduate with Honors, Grand Master for Splendid Happiness, and Left Censor-in-Chief of the
Surveillance Bureau, on duty in the Southern Study, your subject Peng Qifeng.
The scroll Wind and Snow in the Fir-pines, by Li Shan of the Jin dynasty, was bestowed by His
Majesty on the Commander-in-chief, Lord Peng,17 who respectfully recorded [the event] from
beginning to end, but did not get around to writing it [on the scroll] himself. As the Lord recently
passed away, his son [Peng] Shaosheng [1740–1796] instructed me, the former Reader-inwaiting
in the Hanlin Academy, Wang Wenzhi, to add his text [to the scroll]. It is the ninth day in the
fourth lunar-month of the fifty-first year in the Qianlong reign period [May 6, 1786].
Signature: 王文治
Wang Wenzhi
Date: 乾隆五十一年夏孟九日
It is the ninth day in the fourth lunar-month of the fifty-first year in the
Qianlong reign period [May 6, 1786]
Seal: (1)
Zhi『治』(square relief/intaglio)
Green jade. With archaic motif carved on obverse, and engraved inscription on reverse
Eleven characters, in bafen script, highlighted in gold pigment
乾隆御詠：李山《風雪杉松圖》
Wind and Snow in the Fir-pines, by Li Shan; [with] poem by His Majesty Qianlong.
Outside Label: Fei Nianci 費念慈 (1855–1905)
Fifteen characters, in standard script
金李山《風雪杉松圖》。辛丑祀竈月，西蠡。
Wind and Snow in the Fir-pines, by Li Shan of the Jin dynasty. [Inscribed] in the month of
sacrificing to the god of the hearth [the twelfth lunar month] in the xinchou year [January 10–
February 7, 1902], Xili [Fei Nianci].
Signature: 西蠡
Xili
Date: 辛丑祀竈月
in the month of sacrificing to the god of the hearth [the twelfth lunar
month] in the xinchou year [January 10–February 7, 1902]
Seal: (1)
Zhijun『直君』(square intaglio)
Frontispiece: Song dynasty? Blank, unprinted sutra paper; with one (1) seal of Buddhist
temple.1
Seal: (1)
Faxi dacang『法喜大藏』(rectangle relief)
Inside Label: Attributed to Wang Zhideng 王穉登 (1535–1612)2
Affixed to mounting silk 2, upper right.
Seven characters, standard script
李山《風雪杉松圖》
Wind and Snow in the Fir-pines, by Li Shan
Other Inscriptions: (1) – Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned
1735–96)
8 columns, running script. Poem (4x7).
千峰如睡玉為皴，落落孥空本色真，茅屋把書寒不輟，斯人應是友松人。乾隆御題。
[Poem not translated]. Inscribed by the Qianlong emperor.
Signature: 乾隆御
the Qianlong emperor
Date: none (late November 1748)3
Seals: (2)
De jiaqu『得佳趣』(square intaglio)
Jixia yiqing『幾暇怡情』(square intaglio)
Colophons: (6) – Five sheets of paper with six colophons, plus one sheet with three (3)
collector seals only.
1. Wang Tingyun 王庭筠 (1151–1202)
Two joined sheets of gray paper.
11 columns, running script. Poem (4x7).
繞院千千萬
萬峰，滿天風雪打杉松，地壚火暖黃昏睡，更有何人似我慵。
此參寥詩，非本色住山人，不能作也。黃華真逸書。書後客至，曰賈島詩也。未知孰是。
Surrounding the yard—a thousand, ten-thousand peaks,
Filling the sky, wind and snow smite the fir-pines. Fire
glows in the ground stove, at dusk I fall asleep, Is there
anyone else in the world so indolent as I?
This is a poem by Canliao [11th century]. Only one with a natural inclination to live among
mountains could have composed it. Inscribed by the True Recluse of Huanghua [Yellow Flower
Mountain]. A visitor came after I had written this, who said that the poem is by Jia Dao [779–
849], but I do not know who is right.4
Signature: 黃華真逸
True Recluse of Huanghua [Yellow Flower Mountain]
Date: none
Seals: none
2. Wang Wanqing 王萬慶 (ca. 1185–ca. 1262)
One sheet of same gray paper, joined to above.
Additional strip of mounting paper at left.
11 columns, running-standard script
此老在泰和間，猶入直于祕書監。予始識之，時年幾八十矣，而精力不少衰。每于屋壁間
喜作大樹石，退而睨之，乃自歎曰：『今老矣，始解作畫！』。非真積力久，功夫至到，
其融渾成就處，斷未易省識。今觀此《風雪杉松圖》，其精緻如此。至敹年自負其能，亦
未為過，而世俗豈能真有知之者？故先人翰林書前人詩以品題之，蓋將置此老于古人之地
也。覽之『使人增感』云。癸卯六月廿有二日，萬慶謹書。
During the Taihe reign period [1201–09], this old fellow [Li Shan] was still serving as Director of
the Palace Library, and though he was indeed nearly eighty when I first made his acquaintance,
his energy had not diminished in the slightest. Whenever he felt happy about some mural he had
painted of great trees and rocks, he would step back and squint at it, then sigh to himself saying,
―Now that I’m old, I’m beginning to understand how to paint!‖ Had he truly not built up his
strength for a long time and attained such a level of proficiency, his harmonious achievement
certainly would not be so easy to know. Now the skill and finesse one sees in Wind and Snow in
the Fir-pines are like this. But while it is no fault for someone late in years to trust in his own
ability, can anyone in the mundane world truly understand him? Therefore when my deceased
father [Wang Tingyun, who was a member of ] the Hanlin Academy, wrote out the poem by
some earlier person as an appraisal [of Li’s character], it must have been to place the old fellow
on the same ground as the ancient masters. Reading at it, as they say, ―makes one feel more
deeply.‖ Twenty-second day in the sixth lunar-month of the guimao year [July 10, 1243],
respectfully written by [Wang] Wanqing.
Signature: 萬慶
Wanqing
Date: 癸卯六月廿有二日
Twenty-second day in the sixth lunar-month of the guimao year [July 10,
1243]
Seals: (1)
illegible (square intaglio)
3. Wang Shizhen 王世貞 (1526–1590)\
One sheet of white paper.
14 columns, standard and running script. Includes two poems (each 4x7).
右金秘書監李山畫《風雪杉松圖》，而黃華老人王庭筠題參寥詩於後。二君皆宋名家子，
為完顏氏禁近有聲。余偶得二絕句，題其後云：『撲地漫天卒未休，松杉千尺迥堪愁，丹
青不作王孫草，老向明天共白頭』。又，『朝色蔥曨映碧虛，千峰瑤草漸凋踈，何當長白
山頭樹，到了枝枝玉不如』。今二君而在，不免泚顙。然李用筆瀟洒，清絕有致，出蹊逕
外；庭筠翩翩，遂入海岳庵三昧，皆可寶也。此君僅四十有七而沒，然時時自稱黃華老人
，極可笑。跋後所謂萬慶者，仕至行省右司郎中，金史誤作『曼慶』，當以此為正。隆慶
戊辰夏六月，吳郡王世貞謹題。
At right is the picture Wind and Snow in the Fir-pines painted by Li Shan, Director of the Palace
Library during the Jin dynasty. Following it Old Man Yellow Flower, Wang Tingyun, inscribed a
poem by Canliao [see Colophon 1]. Both gentlemen were descendents of famous Song-dynasty
families and were renowned courtiers close to the [imperial] Wanyan clan. I have casually
composed two quatrains to inscribe at the end [of the scroll], as follows: [poems not translated].5
If the two gentlemen [Li and Wang] were here today, I’d not be able to stop perspiring [from
embarassment]. For Li’s brushwork is free and easy, exceptionally clear and fine, and goes
outside the normal path, while [Wang] Tingyun’s [calligraphy] is smooth and elegant, and
achieves the samadhi [full realization] of Haiyue’an [Mi Fu, 1051–1107]. Both [works] can be
treasured. The [latter] gentleman was barely in his forty-seventh year when he died, yet he
always referred to himself as Old Man Yellow Flower, which is extremely funny. At the end of
the [second] colophon, the person who calls himself Wanqing attained the rank of Bureau
Director of the Right Office in the Branch Secretariat. The History of the Jin Dynasty mistakenly
writes [his name as] Manqing, so one should use the [signature] here to correct [this error].6
Summer, sixth lunar-month of the wuchen year in the Longqing reign period [June 25–July 23,
1568], respectfully inscribed by Wang Shizhen of Wujun.7
Signature: 王世貞
Wang Shizhen
Date: 隆慶戊辰夏六月
Summer, sixth lunar-month of the wuchen year in the Longqing reign
period (June 25–July 23, 1568)
Seals: (2)
Wang Yuanmei yin『王元美印』(square intaglio)
Tiantao jushi『天弢居士』(square intaglio)
4. Wen Boren 文伯仁 (1502–1575)
One sheet of white paper, together with Colopho
5 columns; running-standard script
n 5.
此卷向嘗觀于金陵，每在夢想，今復得再觀，不勝欣慰。時友人錢叔寶、顧季狂、尤子求
在坐。記之者，五峰山人文伯仁也。隆慶戊辰六月既望大暑中，敬 8 元 美出此，真奇賞哉
！
I previously saw this scroll in Jinling [modern Nanjing], and it has remained in my dreams [ever
since], so I am overcome with joy to have the opportunity now to see it again. My friends Qian
Shubao [Qian Gu, 1508–after 1578], Gu Jikuang [Gu Shengzhi, active late-16th century], and
You Ziqiu [You Qiu, active ca. 1670–1690], are seated here with me.9 The one recording this
[event] is Wufeng shanren, Wen Boren. On the day after the full moon [sixteenth day] in the
sixth lunar-month of the wuchen year in the Longqing reign period [July 10, 1568], during the
period of Great Heat, [the brothers] Jingmei [Wang Shimao, 1536–1588] and Yuanmei [Wang
Shizhen, 1526–1590]10 brought out this [painting for us to see]. It was truly a rare viewing
experience!
Signature: 五峰山人文伯仁
Wufeng Shanren, Wen Boren
Date: 隆慶戊辰六月既望大暑中
during the period of Great Heat, on the day after full moon [the sixteenth
day] in the sixth lunar-month of the wuchen year in the Longqing reign
period [July 10, 1568]
Seals: none
5. Text by Peng Qifeng 彭啟豐 (1701–1784)11
Calligraphy by Wang Wenzhi 王文治 (1730–1802)
Same sheet of white paper, together with Colophon 4.
22 columns, standard script; with explanatory postscript.
乾隆二十八年春孟六日，皇帝御重華宮，召廷臣共二十四人賜宴，臣啟豐蒙恩與焉。有頃
，御製律詩二章，既命臣等賡和，又特頒內府鑒藏名人畫卷各一。臣啟豐得《風雪杉松圖
》，頓首祗受。宴畢攜歸邸舍，展閱是圖，為金泰和間祕書監李山畫，係絹本。凡大小杉
松十一樹，諸峰層列，隱隱有寒沍色。茅屋蕭然，有人據案執卷。堂前眾樹聳立，直榦喬
枝風雪中，不可撓屈，元陰蘢蓯，又若俯翳其下。蓋金去宋未遠，其樹石皴染，皆守宋人
家法。後有黃華真逸王庭筠書參寥詩，明王世貞跋稱其筆法直入海岳之室。黃華之子萬慶
續為之題，而弇州山人稿又謂李山此卷『用筆瀟洒，出蹊逕外』。然則此圖自完顏氏以來
，膾炙名賢且數百載。伏讀御製七言絕句，意思深長，豪端渾脫，圓神方智，別具罏錘。
此卷足以不朽矣。抑臣啟豐於客，冬奉命擢左都御史，天章下賁，凜然勉以後凋之
節。皇極所敷，使樗櫟下材，蒙被雨露，克終保其天，而免於斧斤之患，誠不勝厚幸焉。
其籤碧玉，為之刻『乾隆御詠：李山《風雪杉松圖》』八分十一字。其印章：曰『石渠寶
笈』、曰『三希堂精鑒璽』、曰『乾隆御覽之寶』、曰『宜子孫』、曰『得佳趣』、曰
『幾暇怡情』、曰『乾隆鑑賞』、曰『珍祕』、曰『子孫保之』。舊有：『平陽』、『乾
坤清賞』、『有明王氏圖書之印』、『江表黃琳』、『休伯』、『安儀周家珍藏』、『梁
清標印』、『蕉林鑒定』、『蕉林祕玩』、『鼎元』、『仲雅』、『顧九德』、『嚴澤』
、『張羽鈞』之印。其在後方者，不具錄。前有標題七字，當是明王穉登書。賜進士
及第、光祿大夫、都察[左]
12院左都御史、直南書房臣彭啟豐敬記。
御賜大司馬彭公金李山《風雪杉松圖》卷。公恭紀顛末，未及自書。頃公已下世，公子紹
升屬前翰林侍讀王文治補書。時乾隆五十一年夏孟九日。
On the sixth day of the first spring month in the twenty-eighth year of the Qianlong reign-period
[February 18, 1763], the August Emperor rode to the Chonghua Palace and summoned court
ministers, altogether twenty-four in number, to be given a banquet, and I your subject [Peng]
Qifeng, received the Imperial Favor to be among them. After a while, His Majesty composed two
stanzas of regulated verse and commanded His ministers and others [to create] matching poems,
and He also made a special gift to each [of the twenty-four courtiers] of a scroll from the Imperial
Household Collection painted by a famous artist. I your subject [Peng] Qifeng received Wind and
Snow in the Fir-pines, bowing my head respectfully to accept [the scroll]. After the banquet, I took it back to my official residence and rolled out the picture to examine it. [The painting] was
done on silk by Li Shan, the Director of the Palace Library during the Taihe reign period [1201–
09] of the Jin dynasty. There are a total of eleven fir-pines large and small, and ranges of peaks in
serried ranks, unclear and indistinct with a cold and freezing look. The thatched hut is desolate
and bare, and there is a person [inside] grasping the table and holding a scroll. In front of the hall,
a stand of trees towers up, with straight trunks and lofty branches lifting into the snowy wind.
They cannot be cowed or made to bend, and stay luxuriantly green [throughout the winter
season] of the Primal Yin, seeming to lean over and shelter what lies below. As the Jin dynasty
was not very long after the [Northern] Song, the texture strokes and use of [ink] wash on the trees
and stones were influenced by the styles of Song-dynasty artists. Following [the painting] is a
poem of Canliao [11th century] written out by the True Recluse of Yellow Flower [Mountain],
Wang Tingyun. The colophon by Wang Shizhen of the Ming dynasty [see Colophon 3, above]
praises his calligraphy [by stating that] his style of brushwork directly entered the chamber of
Haiyue
[Mi Fu, 1051–1107]. Yellow Flower’s son, [Wang] Wanqing, added a further inscription to [the
scroll]. The manuscript by the Mountain Man of Yanzhou [Wang Shizhen] says that in this scroll
Li Shan’s ―brushwork is free and easy, and goes outside the normal path.‖ All this being so, then
from the [imperial] Wanyan clan [of the Jin dynasty] on down, this picture has been relished by
famous worthies for several hundred years. I humbly read the quatrain in seven-character lines
composed by His Majesty, and its thought is profound and eternal. The brushwork is effortless
and untrammeled, the round [strokes are done] with spirit and the square with intelligence, each
one specially forged and tempered. This scroll is worthy indeed of immortality! During the
winter, when I your subject [Peng] Qifeng was in residence [at court], I received the Imperial
Command promoting me to Left Censor-in-Chief. The Celestial Certificate descended, sternly
enjoining me to maintain the moral integrity [of the pine], which is the last to wither [in winter].
As the Dispensation of the August Throne caused [me], this inferior timber of ailanthus and
chestnut oak, to receive [the benefits of] rain and dew and shall forever safeguard their days,
averting all harm from axe and hatchet, I was truly overwhelmed by [the Emperor’s] Generosity
and Kindness. He had the [scroll’s] fastening pin of green jade carved with eleven characters in
clerical script [reading], “Wind and Snow in the Fir-pines, by Li Shan; [with] a poem by His
Majesty Qianlong.‖ His seals [on the painting] read: Shiqu baoji, Sanxitang jingjian xi, Qianlong
yulan zhi bao, Yi zisun, De jiaqu, Jixia yiqing, Qianlong jianshang, Zhenmi,13 and Zisun bao zhi.
[The scroll also] has earlier [seals reading]: Pingyang, Qiankun qingshang, You Ming Wang shi
tushu zhi yin, Jiangbiao Huang Lin, Xiubo, An Yizhou jiazhencang, Liang Qingbiao yin, Jiaolin
jianding, Jiaolin miwan, Dingyuan,14Zhongya, Gu Jiude,15Yan Ze, and Zhang Yujun.
16 I have not
transcribed the collector seals on the [colophon] section behind [the painting]. The
sevencharacter [text] on the inside label slip in front [of the painting] must have been written by
Wang Zhideng [1535–1612] of the Ming dynasty. Respectfully recorded by the Metropolitan
Graduate with Honors, Grand Master for Splendid Happiness, and Left Censor-in-Chief of the
Surveillance Bureau, on duty in the Southern Study, your subject Peng Qifeng.
The scroll Wind and Snow in the Fir-pines, by Li Shan of the Jin dynasty, was bestowed by His
Majesty on the Commander-in-chief, Lord Peng,17 who respectfully recorded [the event] from
beginning to end, but did not get around to writing it [on the scroll] himself. As the Lord recently
passed away, his son [Peng] Shaosheng [1740–1796] instructed me, the former Reader-inwaiting
in the Hanlin Academy, Wang Wenzhi, to add his text [to the scroll]. It is the ninth day in the
fourth lunar-month of the fifty-first year in the Qianlong reign period [May 6, 1786].
Signature: 王文治
Wang Wenzhi
Date: 乾隆五十一年夏孟九日
It is the ninth day in the fourth lunar-month of the fifty-first year in the
Qianlong reign period [May 6, 1786]
Seal: (1)
Zhi『治』(square relief/intaglio)
Abstract
65 Total
1. Huang Lin 黃琳 (active ca. 1496–1532) – (3)
Jiangbiao Huang Lin『江表黃琳』(square relief) – painting, lower right
Xiubo『休伯』(square relief) – painting, lower right
Lin yin『琳印』(rectangle intaglio) – colophon 1, left
2. Gu Congde 顧從德 (ca. 1520–after 1575) – (3)
Gu Congde『顧從德』(linked square intaglio/relief) – painting, lower right
Ruxiu『汝脩』(square intaglio) – colophon 1, mid-right
Gu shi Yunge zhencang『顧氏芸閣珍藏』(rectangle relief) – colophon 1, mid-right
3. Wang Shizhen 王世貞 (1526–1590) – (5)
Zhenyuan『貞元』(linked square relief) – painting/mountingsilk 2 join, top
Zhongya『仲雅』(square relief) – painting/mounting silk 2 join, bottom
Qiankun qingshang『乾坤清賞』(square intaglio) – painting, top left
You Ming Wang shi tushu zhi yin『有明王氏圖書之印』(square intaglio) – painting, top left
Fuzhi Xunyang dengchu guanfang『撫治勛陽等處關防』(rectangle relief) – colophon paper 6,
upper right
4. Yan Ze 嚴澤 (late 16th–early 17th century) – (1)
Yan Ze zhi yin『嚴澤之印』(square intaglio/relief) – painting/mounting silk 3 join, bottom
5. Xiang Shengmo 項聖謨 (1597–1658) – (2)
Shengguo wenxian『勝國文獻』(square intaglio) – between colophons 1 and 2, bottom
Yi’an tushu『易菴圖書』(square intaglio) – between colophons 1 and 2, bottom
6. Zhang Xiaosi 張孝思 (active 1620s–ca. 1670) – (2)
Zhang Zezhi『張則之』(rectangle relief) – colophon 1, middle bottom – (1/2)
Zhang Zezhi『張則之』(rectangle relief) – colophon 4, left – (2/2)
7. Zhang Liu 張鏐 (active mid-17th century) – (2)
Zhang Liu『張鏐』(square intaglio) – painting, lower left corner – (1/2)
Zhang Liu『張鏐』(square intaglio) – colophon 1, lower left – (2/2)
8. Liang Qingbiao 梁清標 (1620–1691) – (9)
Liang Qingbiao yin『梁清標印』(square intaglio) – mounting silk 2
Jiaolin jianding『蕉林鑒定』(square intaglio) – mounting silk 2
Cangyan『蒼巖』(square relief) – painting/mounting silk 3 join, top
Jiaolin miwan『蕉林祕玩』(square relief) – mounting silk 2/colophon 1 join, bottom
Hebei Tangcun『河北棠村』(square relief) – colophon 1/colophon 2 join, top Yeqi
yuyin『冶溪漁隱』(rectangle relief) – colophon 2, left paper strip/colophon 3 join,
middle
Tangcun『棠村』(square relief) – colophon 3/colophon 4 join, middle
Cangyanzi『蒼巖子』(circle relief) – colophon 4, left
Guan qi dalue『觀其大略』(square intaglio) – colophon 4, left
9. An Qi 安岐 (ca. 1683–1744) – (6)
An Yizhou jiazhencang『安儀周家珍藏』(rectangle relief) – painting, right
Zhenmi『珍祕』(square relief) – mounting, left of painting
Zisun bao zhi『子孫保之』(diamond intaglio) – mounting, left of painting
Anshi Yizhou shuhua zhi zhang『安氏儀周書畫之章』(rectangle intaglio) – colophon 2,
left
Chaoxian ren『朝鮮人』(rectangle intaglio) – colophon 5, left
An Qi zhi yin『安岐之印』(square intaglio) – colophon 5, left
10. Hongli, the Qianlong emperor (reigned 1735–96) – (5)
Qianlong yulan zhi bao『乾隆御覽之寶』(oval relief) – painting, upper right
Sanxitang jingjian xi『三希堂精鑒璽』(rectangle relief) – painting, upper right
Shiqu baoji『石渠寶笈』(square relief) – painting, upper right
Yi zisun『宜子孫』(square intaglio) – painting, upper right
Qianlong jianshang『乾隆鑑賞』(circle intaglio) – painting, upper left
11. Wu Yun 吳雲 (1811–1883) – (18)
Baoleizi『抱罍子』(square relief) – mounting silk 1/frontispiece join, top – (1/6)
Wu Pingzhai『吳平齋』(square relief-intaglio) – mounting silk 1/frontispiece join, bottom – (1/6)
Baoleizi『抱罍子』(square relief) – frontispiece/mounting silk 2/inside label join, top – (2/6)
Wu Pingzhai『吳平齋』(square relief-intaglio) – frontispiece/mounting silk 2 join, bottom – (2/6)
Wu Yun Pingzhai changshou『吳雲平齋長壽』(square intaglio) – mounting silk 2, middle
Wu Yun siyin 『吳雲私印』(square intaglio) – mounting silk 2/painting join, bottom
Wu Pingzhai shending mingxian zhenji『吳平齋審定名賢真跡』(square relief) – painting,
lower left
Erbai lanting zhai『二百蘭亭齋』(rectangle relief) – painting/mounting silk 3 join, bottom
Gui’an Wu Yun『歸安吳雲』(square intaglio) – mounting silk 3/colophon 1 join, middle
Baoleizi『抱罍子』(square relief) – colophon 1/colophon 2 join, middle – (3/6)
Wu Pingzhai『吳平齋』(square relief-intaglio) – colophon 1/colophon 2 join, bottom – (3/6)
Baoleizi『抱罍子』(square relief) – colophon 2, left paper strip/colophon 3 join, top – (4/6)
Wu Pingzhai『吳平齋』(square relief-intaglio) – colophon 2, left paper strip/colophon 3
join, bottom – (4/6)
Baoleizi『抱罍子』(square relief) – colophon 3/colophon 4 join, top – (5/6)
Wu Pingzhai『吳平齋』(square relief-intaglio) – colophon 3/colophon 4 join, bottom – (5/6)
Baoleizi『抱罍子』(square relief) – colophon paper 5/colophon paper 6 join, top – (6/6)
Wu Pingzhai『吳平齋』(square relief-intaglio) – colophon paper 5/colophon paper 6 join,
bottom – (6/6)
Wu Yun Pingzhai『吳雲平齋』(square intaglio, with animal motif) – far left end of scroll
12. Zhang Zhiwan 張之萬 (1811–1897) – (2)
Zhiwan『之萬』(square relief) – painting, lower left – (1/2)
Zhiwan『之萬』(square relief) – colophon 1/colophon 2 join, middle – (2/2)
13. Wanyan Jingxian 完顏景賢 (died 1927) – (1)
Jingxian cengguan『景賢曾觀』(rectangle relief) – mounting silk 3, lower right
14. Pang Yuanji 龐元濟 (1864–1949) – (1)
Xuzhai shending mingji『虛齋審定名跡』(square relief) – mounting silk 3, lower left
15. Unidentified – (5)
Fu’an『复菴』(square relief) – colophon 1, left, over last character
Chaoranshi『超然室』(square relief) – colophon 1/colophon 2 join, bottom
Chibao zhongjie zhi jia『敕褒忠節之家』(square relief) – colophon 2, lower left
Gaoyang X-shi『高陽□氏』(square relief) – colophon 2, left paper strip, middle
Yuansou yanfu『蝯叟眼福』(square relief) – colophon 3/colophon 4 join, bottom
1. Huang Lin 黃琳 (active ca. 1496–1532) – (3)
Jiangbiao Huang Lin『江表黃琳』(square relief) – painting, lower right
Xiubo『休伯』(square relief) – painting, lower right
Lin yin『琳印』(rectangle intaglio) – colophon 1, left
2. Gu Congde 顧從德 (ca. 1520–after 1575) – (3)
Gu Congde『顧從德』(linked square intaglio/relief) – painting, lower right
Ruxiu『汝脩』(square intaglio) – colophon 1, mid-right
Gu shi Yunge zhencang『顧氏芸閣珍藏』(rectangle relief) – colophon 1, mid-right
3. Wang Shizhen 王世貞 (1526–1590) – (5)
Zhenyuan『貞元』(linked square relief) – painting/mountingsilk 2 join, top
Zhongya『仲雅』(square relief) – painting/mounting silk 2 join, bottom
Qiankun qingshang『乾坤清賞』(square intaglio) – painting, top left
You Ming Wang shi tushu zhi yin『有明王氏圖書之印』(square intaglio) – painting, top left
Fuzhi Xunyang dengchu guanfang『撫治勛陽等處關防』(rectangle relief) – colophon paper 6,
upper right
4. Yan Ze 嚴澤 (late 16th–early 17th century) – (1)
Yan Ze zhi yin『嚴澤之印』(square intaglio/relief) – painting/mounting silk 3 join, bottom
5. Xiang Shengmo 項聖謨 (1597–1658) – (2)
Shengguo wenxian『勝國文獻』(square intaglio) – between colophons 1 and 2, bottom
Yi’an tushu『易菴圖書』(square intaglio) – between colophons 1 and 2, bottom
6. Zhang Xiaosi 張孝思 (active 1620s–ca. 1670) – (2)
Zhang Zezhi『張則之』(rectangle relief) – colophon 1, middle bottom – (1/2)
Zhang Zezhi『張則之』(rectangle relief) – colophon 4, left – (2/2)
7. Zhang Liu 張鏐 (active mid-17th century) – (2)
Zhang Liu『張鏐』(square intaglio) – painting, lower left corner – (1/2)
Zhang Liu『張鏐』(square intaglio) – colophon 1, lower left – (2/2)
8. Liang Qingbiao 梁清標 (1620–1691) – (9)
Liang Qingbiao yin『梁清標印』(square intaglio) – mounting silk 2
Jiaolin jianding『蕉林鑒定』(square intaglio) – mounting silk 2
Cangyan『蒼巖』(square relief) – painting/mounting silk 3 join, top
Jiaolin miwan『蕉林祕玩』(square relief) – mounting silk 2/colophon 1 join, bottom
Hebei Tangcun『河北棠村』(square relief) – colophon 1/colophon 2 join, top Yeqi
yuyin『冶溪漁隱』(rectangle relief) – colophon 2, left paper strip/colophon 3 join,
middle
Tangcun『棠村』(square relief) – colophon 3/colophon 4 join, middle
Cangyanzi『蒼巖子』(circle relief) – colophon 4, left
Guan qi dalue『觀其大略』(square intaglio) – colophon 4, left
9. An Qi 安岐 (ca. 1683–1744) – (6)
An Yizhou jiazhencang『安儀周家珍藏』(rectangle relief) – painting, right
Zhenmi『珍祕』(square relief) – mounting, left of painting
Zisun bao zhi『子孫保之』(diamond intaglio) – mounting, left of painting
Anshi Yizhou shuhua zhi zhang『安氏儀周書畫之章』(rectangle intaglio) – colophon 2,
left
Chaoxian ren『朝鮮人』(rectangle intaglio) – colophon 5, left
An Qi zhi yin『安岐之印』(square intaglio) – colophon 5, left
10. Hongli, the Qianlong emperor (reigned 1735–96) – (5)
Qianlong yulan zhi bao『乾隆御覽之寶』(oval relief) – painting, upper right
Sanxitang jingjian xi『三希堂精鑒璽』(rectangle relief) – painting, upper right
Shiqu baoji『石渠寶笈』(square relief) – painting, upper right
Yi zisun『宜子孫』(square intaglio) – painting, upper right
Qianlong jianshang『乾隆鑑賞』(circle intaglio) – painting, upper left
11. Wu Yun 吳雲 (1811–1883) – (18)
Baoleizi『抱罍子』(square relief) – mounting silk 1/frontispiece join, top – (1/6)
Wu Pingzhai『吳平齋』(square relief-intaglio) – mounting silk 1/frontispiece join, bottom – (1/6)
Baoleizi『抱罍子』(square relief) – frontispiece/mounting silk 2/inside label join, top – (2/6)
Wu Pingzhai『吳平齋』(square relief-intaglio) – frontispiece/mounting silk 2 join, bottom – (2/6)
Wu Yun Pingzhai changshou『吳雲平齋長壽』(square intaglio) – mounting silk 2, middle
Wu Yun siyin 『吳雲私印』(square intaglio) – mounting silk 2/painting join, bottom
Wu Pingzhai shending mingxian zhenji『吳平齋審定名賢真跡』(square relief) – painting,
lower left
Erbai lanting zhai『二百蘭亭齋』(rectangle relief) – painting/mounting silk 3 join, bottom
Gui’an Wu Yun『歸安吳雲』(square intaglio) – mounting silk 3/colophon 1 join, middle
Baoleizi『抱罍子』(square relief) – colophon 1/colophon 2 join, middle – (3/6)
Wu Pingzhai『吳平齋』(square relief-intaglio) – colophon 1/colophon 2 join, bottom – (3/6)
Baoleizi『抱罍子』(square relief) – colophon 2, left paper strip/colophon 3 join, top – (4/6)
Wu Pingzhai『吳平齋』(square relief-intaglio) – colophon 2, left paper strip/colophon 3
join, bottom – (4/6)
Baoleizi『抱罍子』(square relief) – colophon 3/colophon 4 join, top – (5/6)
Wu Pingzhai『吳平齋』(square relief-intaglio) – colophon 3/colophon 4 join, bottom – (5/6)
Baoleizi『抱罍子』(square relief) – colophon paper 5/colophon paper 6 join, top – (6/6)
Wu Pingzhai『吳平齋』(square relief-intaglio) – colophon paper 5/colophon paper 6 join,
bottom – (6/6)
Wu Yun Pingzhai『吳雲平齋』(square intaglio, with animal motif) – far left end of scroll
12. Zhang Zhiwan 張之萬 (1811–1897) – (2)
Zhiwan『之萬』(square relief) – painting, lower left – (1/2)
Zhiwan『之萬』(square relief) – colophon 1/colophon 2 join, middle – (2/2)
13. Wanyan Jingxian 完顏景賢 (died 1927) – (1)
Jingxian cengguan『景賢曾觀』(rectangle relief) – mounting silk 3, lower right
14. Pang Yuanji 龐元濟 (1864–1949) – (1)
Xuzhai shending mingji『虛齋審定名跡』(square relief) – mounting silk 3, lower left
15. Unidentified – (5)
Fu’an『复菴』(square relief) – colophon 1, left, over last character
Chaoranshi『超然室』(square relief) – colophon 1/colophon 2 join, bottom
Chibao zhongjie zhi jia『敕褒忠節之家』(square relief) – colophon 2, lower left
Gaoyang X-shi『高陽□氏』(square relief) – colophon 2, left paper strip, middle
Yuansou yanfu『蝯叟眼福』(square relief) – colophon 3/colophon 4 join, bottom
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1961.34a-c
References
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Zhang Junheng 張鈞衡 (1872–1927), comp. Shiyuan congshu 適園叢書. Collection
eight. Wucheng 烏程: Privately printed, 1916. 23:43a. (list of Wang Shizhen collection)
Bian Yongyu 卞永譽 (1645–1712), comp. Shigutang shuhua huikao 式古堂書畫彙考.
1680–82. Wuxing 吳興: Jian’gu shushe 鑑古書社, 1921. Hua 畫 2:113a. (list of Wang
Shizhen collection)
Sun Yueban 孫岳頒 (1639–1708), Wang Yuanqi 王原祁 (1642–1715) et al., comps.
Peiwenzhai shuhua pu 佩文齋書畫譜. Preface 1708. Yangzhou 揚州: Yangzhou shiju 揚
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Li Diaoyuan 李調元 (1734–1803), comp. Zhujia canghua bu 諸家藏畫簿 (1778). 10:2a.
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Wu Qizhen 吳其真 (1607–ca. 1678). Shuhua ji 書畫記 (ca. 1677). 2 vols. Shanghai: Shanghai
renmin meishu chubanshe, 1962. Vol. 2, 5:512–13.
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Hanwenzhai 翰文齋, 1914. Vol. 4, Hua 畫 1:sep.pag.,1a–2b.
Wanyan Jingxian 完顏景賢 (died 1927?). Sanyutang shuhua mu 三虞堂書畫目. Preface 1933.
China: n.p, n.d. Xia:4b. (Title only, in Pang Yuanji collection).
Pang Yuanji 龐元濟 (1864–1949). Xuzhai minghua lu 虛齋名畫錄. Shanghai: Shangyouxuan 尚
友軒, 1909. 2:32a–36a.
Sirén, Osvald (1879–1966). Chinese Painting; Leading Masters and Principles. 7 vols. New
York: Ronald Press Co., 1956–58. Vol. 2, 130.
Cahill, James. The Art of the Southern Song. New York: Asia Society, 1962. Pp. 26–27.
Bush, Susan. ―Clearing After Snow in the Min Mountains and Chin Landscape Painting.‖
Oriental Art 11.3 (Autumn 1965): 163–72.
___________. ―Literati Culture under the Chin (1122–1234).‖ Oriental Art 15.2 (Summer
1969):
103–12, esp. 109–11.
__________. ―Chin Literati Painting and Landscape Traditions.‖ In National Palace Museum
Bulletin 21.4-5 (September-December 1986): 1–23, esp. 12–13 (fig. 1).
Lawton, Thomas. An Eighteenth Century Chinese Catalogue of Calligraphy and Painting (An
annotated translation of Sections Three and Four of Mo-yuan hui-kuan by An Ch’i). 2 vols.
Harvard University: Ph.D. dissertation, 1970. Vol. 1, 123–26.
_____________. ―Notes on Five Paintings from a Ch’ing Dynasty Collection.‖ Ars Orientalis 8
(1970): 191–216, esp. 197–202.
Freer Gallery of Art. Eugene and Agnes E. Meyer Memorial Exhibition. Washington, DC: Freer
Gallery of Art, Smithsonian Institution, 1971. Pp. 40–41.
__________. Freer Gallery of Art, China I. Tokyo: Kodansha, 1972. Pp. 159–60.
Suzuki Kei 鈴木敬 (1920–2007), and Akiyama Terukazu 秋山光和, eds. Chūgoku bijutsu: kaiga
I 中國美術：繪畫 1 (Chinese Art in Western Collections: Paintings 1). Tokyo: Kodansha, 1973.
Color plate 19 and pp. 226–27.
__________. Chūgoku kaigashi 中國繪畫史. Tokyo: Yoshikawa kōbunkan, 1981. Vol. 1, part 1,
204; and part 2, 134 (plate 138).
__________, 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, 218–19
(A21–075).
__________. Chūgoku kaigashi 中國繪畫史. Tokyo: Yoshikawa kōbunkan, 1984. Vol. 2, part 1,
sec. 1, 244–45, and vol. 2, part 1, sec. 2, 75–76 and 188–89 (plate 182.1–5).
Li Lincan 李霖燦 (1913–1999). ―A study of dots in Chinese landscape painting.‖ In National
Palace Museum Bulletin 9 (November/December 1974. Plate 3.
Johnson, Linda Cooke. The Art of the Jurchen Revival: A Court Movement in Chin Dynasty
China. M.A Thesis: San Jose State University, 1974. P. 77.
Iriya Yoshitaka 入矢義高 (1910–1998), Richard Barnhart, and Nakata Yūjirō 中田勇次郎
(1905–1998). Tō Gen, Kyonen 董源、巨然 (Dong Yuan, Juran). In Bunjinga Suihen 文人畫粹
編. Vol. 2. Tokyo: Chūōkōron-sha, 1977. Pp. 60 (plate 45) and 143.
Little, Stephen. ―Travelers Among Valleys and Peaks: A Reconsideration of Chin Landscape
Painting.‖ In Artibus Asiae 41.2–3 (1979): 285–308.
Watson, William (1917–2007). Art of Dynastic China. New York: Abrams, 1981. Plate 462.
Lin, Angela Li (Li Zongqin 李宗慬). ―Notes on Wind and Snow in the Fir-Pines by Li Shan of
the Chin Dynasty.‖ In National Palace Museum Bulletin 15.1 (March-April 1980): 1–14; 15.2
(May-June 1980): 1–14; and 15.3 (July-August 1980): 1–17. Chinese language version: ―Du Jin
Li Shan Fengxue shansong tu zhaji‖ 讀金李山《風雪杉松圖》扎記. In Gugong jikan 故宮季刊
14.4 (Summer 1980): 19–40, and plate 1.
She Cheng 佘城, ed. Zhongguo shuhua 2: shanshui hua 中國書畫 2﹕山水畫. Taibei: Guangfu
shuju, 1981. Pp. 30–31.
Nakata Yūjirō 中田勇次郎 (1905–1998) and Fu Shen 傅申. Ōbei shūzō: Chūgoku hōsho meiseki
shū 歐米收藏：中國法書名蹟集 (Masterpieces of Chinese Calligraphy in American and
European Collections). 4 vols. Tokyo: Chūōkoron-sha, 1981. Vol. 2, 157–58, pls. 123–25.
Owyoung, Steven D. ―The Huang Lin Collection.‖ In Archives of Asian Art 35 (1982): 59 (fig.
4).
Yu Hui 余輝. ―Jindai huashi chutan‖ 金代畫史初探. In Duoyun 朵雲 (Art Clouds Monthly) 32
(1992.1): 20–31, esp. 26.
Wang Dengke 王登科. ―Zhenyi qi Liaohai, yibian zheng qixin: Wang Tingyun ji qi shufa yishu
pingyi‖《振衣起遼海，一變爭奇新；王庭筠及其書法藝術評議》. In Shufa 書法 108
(1996.3): 4–5.
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, 10–11 (no. 7).
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2008. P. 283, plate 5.41.
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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. 78–87, 261 (no. 17).
poems) and 137:13a–b (colophon text). In WSKQS, disc 140.
Wang Keyu 汪砢玉 (1587–after 1643). Shanhuwang hualu 珊瑚網畫錄. Preface 1643. In
Zhang Junheng 張鈞衡 (1872–1927), comp. Shiyuan congshu 適園叢書. Collection
eight. Wucheng 烏程: Privately printed, 1916. 23:43a. (list of Wang Shizhen collection)
Bian Yongyu 卞永譽 (1645–1712), comp. Shigutang shuhua huikao 式古堂書畫彙考.
1680–82. Wuxing 吳興: Jian’gu shushe 鑑古書社, 1921. Hua 畫 2:113a. (list of Wang
Shizhen collection)
Sun Yueban 孫岳頒 (1639–1708), Wang Yuanqi 王原祁 (1642–1715) et al., comps.
Peiwenzhai shuhua pu 佩文齋書畫譜. Preface 1708. Yangzhou 揚州: Yangzhou shiju 揚
州詩局, 1708. 84:34b (Wang Shizhen colophon) and 98:33a (list of Wang Shizhen
collection).
Li Diaoyuan 李調元 (1734–1803), comp. Zhujia canghua bu 諸家藏畫簿 (1778). 10:2a.
(list of Wang Shizhen collection)
Wu Qizhen 吳其真 (1607–ca. 1678). Shuhua ji 書畫記 (ca. 1677). 2 vols. Shanghai: Shanghai
renmin meishu chubanshe, 1962. Vol. 2, 5:512–13.
An Qi 安岐 (1683–after 1744). Moyuan huiguan 墨緣彙觀 (pref. 1742). 6 vols. Beijing:
Hanwenzhai 翰文齋, 1914. Vol. 4, Hua 畫 1:sep.pag.,1a–2b.
Wanyan Jingxian 完顏景賢 (died 1927?). Sanyutang shuhua mu 三虞堂書畫目. Preface 1933.
China: n.p, n.d. Xia:4b. (Title only, in Pang Yuanji collection).
Pang Yuanji 龐元濟 (1864–1949). Xuzhai minghua lu 虛齋名畫錄. Shanghai: Shangyouxuan 尚
友軒, 1909. 2:32a–36a.
Sirén, Osvald (1879–1966). Chinese Painting; Leading Masters and Principles. 7 vols. New
York: Ronald Press Co., 1956–58. Vol. 2, 130.
Cahill, James. The Art of the Southern Song. New York: Asia Society, 1962. Pp. 26–27.
Bush, Susan. ―Clearing After Snow in the Min Mountains and Chin Landscape Painting.‖
Oriental Art 11.3 (Autumn 1965): 163–72.
___________. ―Literati Culture under the Chin (1122–1234).‖ Oriental Art 15.2 (Summer
1969):
103–12, esp. 109–11.
__________. ―Chin Literati Painting and Landscape Traditions.‖ In National Palace Museum
Bulletin 21.4-5 (September-December 1986): 1–23, esp. 12–13 (fig. 1).
Lawton, Thomas. An Eighteenth Century Chinese Catalogue of Calligraphy and Painting (An
annotated translation of Sections Three and Four of Mo-yuan hui-kuan by An Ch’i). 2 vols.
Harvard University: Ph.D. dissertation, 1970. Vol. 1, 123–26.
_____________. ―Notes on Five Paintings from a Ch’ing Dynasty Collection.‖ Ars Orientalis 8
(1970): 191–216, esp. 197–202.
Freer Gallery of Art. Eugene and Agnes E. Meyer Memorial Exhibition. Washington, DC: Freer
Gallery of Art, Smithsonian Institution, 1971. Pp. 40–41.
__________. Freer Gallery of Art, China I. Tokyo: Kodansha, 1972. Pp. 159–60.
Suzuki Kei 鈴木敬 (1920–2007), and Akiyama Terukazu 秋山光和, eds. Chūgoku bijutsu: kaiga
I 中國美術：繪畫 1 (Chinese Art in Western Collections: Paintings 1). Tokyo: Kodansha, 1973.
Color plate 19 and pp. 226–27.
__________. Chūgoku kaigashi 中國繪畫史. Tokyo: Yoshikawa kōbunkan, 1981. Vol. 1, part 1,
204; and part 2, 134 (plate 138).
__________, 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, 218–19
(A21–075).
__________. Chūgoku kaigashi 中國繪畫史. Tokyo: Yoshikawa kōbunkan, 1984. Vol. 2, part 1,
sec. 1, 244–45, and vol. 2, part 1, sec. 2, 75–76 and 188–89 (plate 182.1–5).
Li Lincan 李霖燦 (1913–1999). ―A study of dots in Chinese landscape painting.‖ In National
Palace Museum Bulletin 9 (November/December 1974. Plate 3.
Johnson, Linda Cooke. The Art of the Jurchen Revival: A Court Movement in Chin Dynasty
China. M.A Thesis: San Jose State University, 1974. P. 77.
Iriya Yoshitaka 入矢義高 (1910–1998), Richard Barnhart, and Nakata Yūjirō 中田勇次郎
(1905–1998). Tō Gen, Kyonen 董源、巨然 (Dong Yuan, Juran). In Bunjinga Suihen 文人畫粹
編. Vol. 2. Tokyo: Chūōkōron-sha, 1977. Pp. 60 (plate 45) and 143.
Little, Stephen. ―Travelers Among Valleys and Peaks: A Reconsideration of Chin Landscape
Painting.‖ In Artibus Asiae 41.2–3 (1979): 285–308.
Watson, William (1917–2007). Art of Dynastic China. New York: Abrams, 1981. Plate 462.
Lin, Angela Li (Li Zongqin 李宗慬). ―Notes on Wind and Snow in the Fir-Pines by Li Shan of
the Chin Dynasty.‖ In National Palace Museum Bulletin 15.1 (March-April 1980): 1–14; 15.2
(May-June 1980): 1–14; and 15.3 (July-August 1980): 1–17. Chinese language version: ―Du Jin
Li Shan Fengxue shansong tu zhaji‖ 讀金李山《風雪杉松圖》扎記. In Gugong jikan 故宮季刊
14.4 (Summer 1980): 19–40, and plate 1.
She Cheng 佘城, ed. Zhongguo shuhua 2: shanshui hua 中國書畫 2﹕山水畫. Taibei: Guangfu
shuju, 1981. Pp. 30–31.
Nakata Yūjirō 中田勇次郎 (1905–1998) and Fu Shen 傅申. Ōbei shūzō: Chūgoku hōsho meiseki
shū 歐米收藏：中國法書名蹟集 (Masterpieces of Chinese Calligraphy in American and
European Collections). 4 vols. Tokyo: Chūōkoron-sha, 1981. Vol. 2, 157–58, pls. 123–25.
Owyoung, Steven D. ―The Huang Lin Collection.‖ In Archives of Asian Art 35 (1982): 59 (fig.
4).
Yu Hui 余輝. ―Jindai huashi chutan‖ 金代畫史初探. In Duoyun 朵雲 (Art Clouds Monthly) 32
(1992.1): 20–31, esp. 26.
Wang Dengke 王登科. ―Zhenyi qi Liaohai, yibian zheng qixin: Wang Tingyun ji qi shufa yishu
pingyi‖《振衣起遼海，一變爭奇新；王庭筠及其書法藝術評議》. In Shufa 書法 108
(1996.3): 4–5.
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, 10–11 (no. 7).
Ouyang Zhongshi and Wen C. Fong. Chinese Calligraphy. New Haven: Yale University Press,
2008. P. 283, plate 5.41.
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. 78–87, 261 (no. 17).