Travelers among the Fir-Pines 松杉行旅圖
Item
Title
Travelers among the Fir-Pines 松杉行旅圖
Description
(none)
Source
https://asia.si.edu/object/F1916.552
Creator
Li Shan (attributed to) (傳) 李山
annotates
Label slip: Unidentified. Qingteng shuwu [Studio of Green Vines]1
Mounted on back of panel. Ink on brown paper.
10 characters, clerical script; plus six smaller characters, running script.
金李山《松杉行旅圖》真蹟。青藤書屋珍藏。
Travelers among the Fir-Pines, by Li Shan of the Jin dynasty; a genuine work. Treasured in the
collection of Qingteng shuwu [Studio of Green Vines].
Superscription: Xu Lin 徐璘 (early to mid-19th century)2
Ink on silk. Mounted on back of panel.
Dimensions: 21.5 x 108.8 cm (8-1/2 x 42-7/8 in)
Center text: Title. Four characters, standard script.
茂林遙岑
Luxuriant Groves and Distant Peaks
Right text: 6 columns; running script.
李山官秘監，生平喜作風雪松杉圖。｢用筆瀟灑｣，氣韻渾厚，｢精絕有致｣，水墨淋灕，｢
出蹊徑外｣。意在郭熙、董北苑之間。海陵徐秋槎并錄。
Li Shan held the rank of Director of Palace Library, and throughout his life was fond of making
pictures of wind and snow in the firs and pines.3 ―His brushwork was free and natural‖ and the
spiritual resonance [of his paintings] was simple and bold, ―achieving a most refined effect,‖
while his ink was heavily saturated and ―went beyond the narrow path.‖4 His intent lay
somewhere between Guo Xi [1001–1090] and Dong Beiyuan [Dong Yuan, died 960]. [Titled]
and recorded by Xu Qiucha [Xu Lin] of Hailing.
Signature: 徐秋槎
Xu Qiucha
Date: none
Seals: (2)
Qiucha『秋查』(circle relief) – upper right
Xu Lin yinxin『徐璘印信』(square intaglio-relief) – bottom left
Left text: 7 columns; running script.
丙辰秋七月上瀚，偶過蘭翁齋中，出示此畫属題。余觀畫譜，李山同名者有三 : 唐李山、
有金李山、康熙間李山，善指畫。此幅墨氣塵厚，用筆瀟灑，非金李山所能到也。余評此
畫有唐時風味，定為唐李山是也。蘭舟先生以為如何？審定並請雅教，徐璘又識。
During the first decade of the seventh lunar-month in the bingchen year [August 1–10, 1856],5
I
happened to visit the studio of Old Lan [unidentified], who brought out this painting and
requested a colophon. I have looked through the registers of painters and there are three who
share the name Li Shan: a Li Shan from the Tang dynasty, a Li Shan from the Jin dynasty, and a
Li Shan from the Kangxi reign period, who was skilled at painting with his fingers. The ink of
this painting is deep and thick6 while the brushwork is free and natural, which is not something
that Li Shan of the Jin dynasty could have achieved. In my opinion the painting has the style and
flavor of the Tang, so I conclude that it is by Li Shan of the Tang dynasty. What does Mister
Lanzhou think about this? Authenticated and requesting your graceful instruction, inscribed again
by Xu Lin.
Signature: 徐璘
Xu Lin
Date: 丙辰秋七月上瀚
First decade of the seventh lunar-month in the bingchen year [August 1–10,
1856]
Seals: (3)
Qiucha shi『秋查氏』(square relief) – upper right
Xu Qiucha yin『徐秋查印』(square relief) – lower left
Xu Lin zhi ji『徐璘之記』(square intaglio) – lower left
Mounted on back of panel. Ink on brown paper.
10 characters, clerical script; plus six smaller characters, running script.
金李山《松杉行旅圖》真蹟。青藤書屋珍藏。
Travelers among the Fir-Pines, by Li Shan of the Jin dynasty; a genuine work. Treasured in the
collection of Qingteng shuwu [Studio of Green Vines].
Superscription: Xu Lin 徐璘 (early to mid-19th century)2
Ink on silk. Mounted on back of panel.
Dimensions: 21.5 x 108.8 cm (8-1/2 x 42-7/8 in)
Center text: Title. Four characters, standard script.
茂林遙岑
Luxuriant Groves and Distant Peaks
Right text: 6 columns; running script.
李山官秘監，生平喜作風雪松杉圖。｢用筆瀟灑｣，氣韻渾厚，｢精絕有致｣，水墨淋灕，｢
出蹊徑外｣。意在郭熙、董北苑之間。海陵徐秋槎并錄。
Li Shan held the rank of Director of Palace Library, and throughout his life was fond of making
pictures of wind and snow in the firs and pines.3 ―His brushwork was free and natural‖ and the
spiritual resonance [of his paintings] was simple and bold, ―achieving a most refined effect,‖
while his ink was heavily saturated and ―went beyond the narrow path.‖4 His intent lay
somewhere between Guo Xi [1001–1090] and Dong Beiyuan [Dong Yuan, died 960]. [Titled]
and recorded by Xu Qiucha [Xu Lin] of Hailing.
Signature: 徐秋槎
Xu Qiucha
Date: none
Seals: (2)
Qiucha『秋查』(circle relief) – upper right
Xu Lin yinxin『徐璘印信』(square intaglio-relief) – bottom left
Left text: 7 columns; running script.
丙辰秋七月上瀚，偶過蘭翁齋中，出示此畫属題。余觀畫譜，李山同名者有三 : 唐李山、
有金李山、康熙間李山，善指畫。此幅墨氣塵厚，用筆瀟灑，非金李山所能到也。余評此
畫有唐時風味，定為唐李山是也。蘭舟先生以為如何？審定並請雅教，徐璘又識。
During the first decade of the seventh lunar-month in the bingchen year [August 1–10, 1856],5
I
happened to visit the studio of Old Lan [unidentified], who brought out this painting and
requested a colophon. I have looked through the registers of painters and there are three who
share the name Li Shan: a Li Shan from the Tang dynasty, a Li Shan from the Jin dynasty, and a
Li Shan from the Kangxi reign period, who was skilled at painting with his fingers. The ink of
this painting is deep and thick6 while the brushwork is free and natural, which is not something
that Li Shan of the Jin dynasty could have achieved. In my opinion the painting has the style and
flavor of the Tang, so I conclude that it is by Li Shan of the Tang dynasty. What does Mister
Lanzhou think about this? Authenticated and requesting your graceful instruction, inscribed again
by Xu Lin.
Signature: 徐璘
Xu Lin
Date: 丙辰秋七月上瀚
First decade of the seventh lunar-month in the bingchen year [August 1–10,
1856]
Seals: (3)
Qiucha shi『秋查氏』(square relief) – upper right
Xu Qiucha yin『徐秋查印』(square relief) – lower left
Xu Lin zhi ji『徐璘之記』(square intaglio) – lower left
Abstract
14 Total
1. Mi Fu 米芾 (1051–1107) – (1) – fake
Chuguo Mi Fu『楚國米芾』(square relief) – upper left
2. Xiang Yuanbian (1525–1590) – (3) – genuine?
Zijing fu yin『子京父印』(square relief) – lower left
Molin shanren『墨林山人』(square intaglio) – lower left
Xiang Molin fu miji zhi yin『項墨林父秘笈之印』(rectangle relief) – lower left
3. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96) – (5)
Qianlong yulan zhi bao『乾隆御覽之寶』(oval relief) – top middle
Baoji chongbian『寶笈重編』(square intaglio) – upper right
Shiqu dingjian『石渠定鑑』(circle relief) – upper right
Shiqu baoji『石渠寶笈』(rectangle relief) – lower right
Sanxitang jingjian xi『三希堂精鑑璽』(rectangle relief) – upper left
4. Xu Lin 徐璘 (early to mid-19th century) – (1)
Xu Qiucha shangjian yin『徐秋槎賞鑑印』(rectangle relief) – lower right
5. Chen Baojin 陳寶晉 (ca. 1790s–after 1867) – (1)
Shouwu guoyan『守吾過眼』(rectangle intaglio) – lower right
6. Unidentified – (3)
Yuexing yiqing『說性怡情』(oval relief) – upper right
Bingxue qianshen『冰雪前身』(square intaglio) – lower right
Yunxi laoren『雲西老人』(square relief)
7
– bottom right
1. Mi Fu 米芾 (1051–1107) – (1) – fake
Chuguo Mi Fu『楚國米芾』(square relief) – upper left
2. Xiang Yuanbian (1525–1590) – (3) – genuine?
Zijing fu yin『子京父印』(square relief) – lower left
Molin shanren『墨林山人』(square intaglio) – lower left
Xiang Molin fu miji zhi yin『項墨林父秘笈之印』(rectangle relief) – lower left
3. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96) – (5)
Qianlong yulan zhi bao『乾隆御覽之寶』(oval relief) – top middle
Baoji chongbian『寶笈重編』(square intaglio) – upper right
Shiqu dingjian『石渠定鑑』(circle relief) – upper right
Shiqu baoji『石渠寶笈』(rectangle relief) – lower right
Sanxitang jingjian xi『三希堂精鑑璽』(rectangle relief) – upper left
4. Xu Lin 徐璘 (early to mid-19th century) – (1)
Xu Qiucha shangjian yin『徐秋槎賞鑑印』(rectangle relief) – lower right
5. Chen Baojin 陳寶晉 (ca. 1790s–after 1867) – (1)
Shouwu guoyan『守吾過眼』(rectangle intaglio) – lower right
6. Unidentified – (3)
Yuexing yiqing『說性怡情』(oval relief) – upper right
Bingxue qianshen『冰雪前身』(square intaglio) – lower right
Yunxi laoren『雲西老人』(square relief)
7
– bottom right
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1916.552
References
Gookin, Frederick William (1854–1936), comp. The Art Institute of Chicago: Catalogue of a
Loan Exhibition of Ancient Chinese Paintings, Sculptures, and Jade Objects from the Collection
Formed by Charles Lang Freer. November 15 to December 8, 1917. Chicago: Art Institute of
Chicago, 1917. P. 13, no. 4.
Sirén, Osvald (1879–1966). Chinese Paintings in American Collections. 5 vols. Paris and
Brussels: G. van Oest, 1928. Vol. 2, plate 53.
__________. A History of Early Chinese Painting. 2 vols. London: The Medici Society, 1933.
Vol. 2, plate 73.
__________. Chinese Painting: Leading Masters and Principles. 7 vols. New York: The Ronald
Press Company, 1958. Vol. 3, plate 321.
Harada Kinjirō 原田謹次郎 (1882– ). Shina meiga hōkan 支那名畫寶鑒 (The Pageant of
Chinese Painting). Tokyo: Ōtsuka kōgeisha, 1936. Plate 258.
Freer Gallery of Art. Freer Gallery of Art, China I. Tokyo: Kodansha, 1972. Plate 59, and p. 166.
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 20 and p. 227.
__________. Chūgoku kaigashi 中國繪畫史. Tokyo: Yoshikawa kōbunkan, 1981. Vol. 1, part 1,
204; and part 2, 133 (plate 137).
__________, 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, 189
(A21–001).
__________. Chūgoku kaigashi 中國繪畫史. Tokyo: Yoshikawa kōbunkan, 1984. Vol. 2, part 1,
sec. 1, 245, and vol. 2, part 1, sec. 2, 187 (plate 181).
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. Plate 47.
Vinograd, Richard. ―River Village — The Pleasures of Fishing and Chao Meng-fu’s Li-Kuo
Style Landscapes.‖ In Artibus Asiae 40.2–3 (1978): 130, and 141 (fig. 10).
Li Zongqin 李宗慬 (Angela Li Lin). ―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): 35, and plate 27.
Lin, Angela Li (Li Zongqin 李宗慬). ―Notes on Wind and Snow in the Fir-Pines by Li Shan of
the Chin Dynasty.‖ National Palace Museum Bulletin 15.3 (July-August 1980): 11, 13 (plate 28),
16.
Guoli gugong bowuyuan 國立故宮博物院, eds. Haiwai yizhen: huihua 海外遺珍：繪畫
(Chinese Art in Overseas Collections: Paintings). Taibei: Gugong bowuyuan, 1985. P. 81.
Bush, Susan. ―Chin Literati Painting and Landscape Traditions.‖ In National Palace Museum
Bulletin 21.4-5 (September-December 1986): 1–23, esp. inside front cover (fig.4), and 3–4.
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, 8–9 (no. 6).
Shimada Hidemasa 嶋田英誠. ―Nansō, Kin no kaiga: sōron‖ 南宋、金の繪畫 : 總論. In
Shimada Hidemasa and Nakazawa Fujio 中澤富士雄, eds. Sekai bijutsu daizenshū, Tōyō hen, dai
6 kan: Nansō, Kin 世界美術大全集 : 東洋遍第 6 卷，南宋、金. Tokyo: Shōgakukan, 2000.
Pp. 98–99 (fig. 13).
Yu Hui 余輝. ―Cangni yu Song hua zhong de Jin dai shanahui hua‖ 藏匿於宋畫中的金代山水
畫. In Wang Yaoting 王耀庭, ed. Kaichuang dianfan: Bei Song de yishu yu wenhua yantaohui
lunwenji 開創典範 : 北宋的藝術與文化研討會論文集. Taibei: Guoli gugong bowuyuan, 2008.
P. 240 (fig. 6).
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. P. 88–91 and 261 (no. 18).
Loan Exhibition of Ancient Chinese Paintings, Sculptures, and Jade Objects from the Collection
Formed by Charles Lang Freer. November 15 to December 8, 1917. Chicago: Art Institute of
Chicago, 1917. P. 13, no. 4.
Sirén, Osvald (1879–1966). Chinese Paintings in American Collections. 5 vols. Paris and
Brussels: G. van Oest, 1928. Vol. 2, plate 53.
__________. A History of Early Chinese Painting. 2 vols. London: The Medici Society, 1933.
Vol. 2, plate 73.
__________. Chinese Painting: Leading Masters and Principles. 7 vols. New York: The Ronald
Press Company, 1958. Vol. 3, plate 321.
Harada Kinjirō 原田謹次郎 (1882– ). Shina meiga hōkan 支那名畫寶鑒 (The Pageant of
Chinese Painting). Tokyo: Ōtsuka kōgeisha, 1936. Plate 258.
Freer Gallery of Art. Freer Gallery of Art, China I. Tokyo: Kodansha, 1972. Plate 59, and p. 166.
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 20 and p. 227.
__________. Chūgoku kaigashi 中國繪畫史. Tokyo: Yoshikawa kōbunkan, 1981. Vol. 1, part 1,
204; and part 2, 133 (plate 137).
__________, 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, 189
(A21–001).
__________. Chūgoku kaigashi 中國繪畫史. Tokyo: Yoshikawa kōbunkan, 1984. Vol. 2, part 1,
sec. 1, 245, and vol. 2, part 1, sec. 2, 187 (plate 181).
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. Plate 47.
Vinograd, Richard. ―River Village — The Pleasures of Fishing and Chao Meng-fu’s Li-Kuo
Style Landscapes.‖ In Artibus Asiae 40.2–3 (1978): 130, and 141 (fig. 10).
Li Zongqin 李宗慬 (Angela Li Lin). ―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): 35, and plate 27.
Lin, Angela Li (Li Zongqin 李宗慬). ―Notes on Wind and Snow in the Fir-Pines by Li Shan of
the Chin Dynasty.‖ National Palace Museum Bulletin 15.3 (July-August 1980): 11, 13 (plate 28),
16.
Guoli gugong bowuyuan 國立故宮博物院, eds. Haiwai yizhen: huihua 海外遺珍：繪畫
(Chinese Art in Overseas Collections: Paintings). Taibei: Gugong bowuyuan, 1985. P. 81.
Bush, Susan. ―Chin Literati Painting and Landscape Traditions.‖ In National Palace Museum
Bulletin 21.4-5 (September-December 1986): 1–23, esp. inside front cover (fig.4), and 3–4.
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, 8–9 (no. 6).
Shimada Hidemasa 嶋田英誠. ―Nansō, Kin no kaiga: sōron‖ 南宋、金の繪畫 : 總論. In
Shimada Hidemasa and Nakazawa Fujio 中澤富士雄, eds. Sekai bijutsu daizenshū, Tōyō hen, dai
6 kan: Nansō, Kin 世界美術大全集 : 東洋遍第 6 卷，南宋、金. Tokyo: Shōgakukan, 2000.
Pp. 98–99 (fig. 13).
Yu Hui 余輝. ―Cangni yu Song hua zhong de Jin dai shanahui hua‖ 藏匿於宋畫中的金代山水
畫. In Wang Yaoting 王耀庭, ed. Kaichuang dianfan: Bei Song de yishu yu wenhua yantaohui
lunwenji 開創典範 : 北宋的藝術與文化研討會論文集. Taibei: Guoli gugong bowuyuan, 2008.
P. 240 (fig. 6).
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. P. 88–91 and 261 (no. 18).
abstract
Traditionally attributed to Li Shan 李山