Pavilion of Rising Clouds 雲起樓圖
Item
Title
Pavilion of Rising Clouds 雲起樓圖
Description
Artist Seals: (2) – Mi Fu 米芾 (1052–1107) – fake
Mi Fu zhi yin『米芾之印』(square intaglio) – lower left
Yuanzhang『元章』(rectangle relief) – lower left
Mi Fu zhi yin『米芾之印』(square intaglio) – lower left
Yuanzhang『元章』(rectangle relief) – lower left
Source
https://asia.si.edu/object/F1908.171
Creator
Mi Fu (attributed to) (傳) 米芾
annotates
Other Inscriptions: (1) – Attributed to Zhao Ji, Emperor Huizong of the Song dynasty 宋徽宗趙
佶 (1082–1135; reigned 1101–1125) – fake (later interpolation)1
2 columns, cursive script – upper right
天降時雨，山川出雲。
[Before] Heaven sends down the timely rains, mountains and rivers put forth clouds.2
Signature: none
Date: none
Seal: (1) – fake, damaged
Yushu『御書』(square relief)
Superscription: Dong Qichang 董其昌 (1555–1636)
Ink on old silk mounting (phoenix-and-cloud motif; same as below); re-mounted above
painting
Dimensions: 17.5 x 70.8 cm
Four large characters, plus signature, running script
《雲起樓圖》。 董其昌書。
The Pavilion of Rising Clouds.
3 Written by Dong Qichang.
Signature: 董其昌
Dong Qichang
Date:
:
none
Seals none
Colophons: (2) – Dong Qichang 董其昌 (1555–1636)
Each written on separate length of old silk mounting (phoenix-and-cloud motif; same as
above); re-mounted right and left of painting.
1. Right side. Dimensions: 174.5 x 11.4 cm
2 columns, running script
徽宗『御書』小璽，下有『米芾之印』、『元章』印，蓋元章為書畫學博士時所進御，《
元章狀》所謂「珍圖名畫，須取裁聖鑒」者也。後有朱象玄印，此吾鄉司成，好古具眼人
。米畫以此圖為甲觀。其昌。
Below the small seal of Emperor Huizong [reigned 1101–25] [reading] Yushu, are [two] seals
[reading] Mi Fu zhi yin [seal of Mi Fu] and Yuanzhang [Mi Fu’s courtesy name]. So this may be
one of [the scrolls that Mi] Yuanzhang presented to the emperor when he [was serving at court]
as an Erudite of Painting and Calligraphy, as described in the Conduct Description of [Mi]
Yuanzhang, which says “the precious pictures and famous paintings [in Mi Fu’s collection] had
to be judged by imperial scrutiny.”4 Last is the seal of Zhu Xiangxuan [Zhu Dashao, 1517–1577],
an official from my home district, who was fond of antique [objects] and had a good eye.5 This
picture is the best painting by Mi [Fu] that I have seen. [Dong] Qichang.
Signature: 其昌
Date: none (ca. 1611–13; see note 7)
Seals: none
2. Left side. Dimensions: 75.4 x 13.6 cm
4 columns, running script 光祿澈如吳年丈，屬余作《雲起樓圖》卷、軸、團扇共三
幀。余未愜意，以此圖貽之。又欲為補趙文敏《汲長孺傳》，合成雙美。澈如以文章氣節
名世，非古人名蹟，何足為雲起樓重也？董其昌。
My senior Wu Cheru [Wu Zhengzhi], [vice director] in the Ministry of Rites, enjoined me to
paint three depictions of his Pavilion of Rising Clouds; a handscroll, a hanging scroll, and a
circular fan. As I was not pleased [with the results], I am giving him this painting [instead], and
will add to it [a transcription of] The Biography of Ji Changru [in the calligraphy] of Zhao
Wenmin [Zhao Mengfu, 1254–1322], for together they will make a beautiful pair.6 Cheru is
famous in the world for the moral integrity of his literary writings, so if it is not a famous work
by some master of the past, then how could [a painting or calligraphy] be important enough for
his Pavilion of Rising Clouds? Dong Qichang.
Signature: 董其昌
Date:
none (ca. 1611–13; see note 7)
Seals: (2)7
Zhizhigao rijiangguan『知制誥日講官』(rectangle intaglio)
Dong Qichang yin『董其昌印』(square intaglio)
佶 (1082–1135; reigned 1101–1125) – fake (later interpolation)1
2 columns, cursive script – upper right
天降時雨，山川出雲。
[Before] Heaven sends down the timely rains, mountains and rivers put forth clouds.2
Signature: none
Date: none
Seal: (1) – fake, damaged
Yushu『御書』(square relief)
Superscription: Dong Qichang 董其昌 (1555–1636)
Ink on old silk mounting (phoenix-and-cloud motif; same as below); re-mounted above
painting
Dimensions: 17.5 x 70.8 cm
Four large characters, plus signature, running script
《雲起樓圖》。 董其昌書。
The Pavilion of Rising Clouds.
3 Written by Dong Qichang.
Signature: 董其昌
Dong Qichang
Date:
:
none
Seals none
Colophons: (2) – Dong Qichang 董其昌 (1555–1636)
Each written on separate length of old silk mounting (phoenix-and-cloud motif; same as
above); re-mounted right and left of painting.
1. Right side. Dimensions: 174.5 x 11.4 cm
2 columns, running script
徽宗『御書』小璽，下有『米芾之印』、『元章』印，蓋元章為書畫學博士時所進御，《
元章狀》所謂「珍圖名畫，須取裁聖鑒」者也。後有朱象玄印，此吾鄉司成，好古具眼人
。米畫以此圖為甲觀。其昌。
Below the small seal of Emperor Huizong [reigned 1101–25] [reading] Yushu, are [two] seals
[reading] Mi Fu zhi yin [seal of Mi Fu] and Yuanzhang [Mi Fu’s courtesy name]. So this may be
one of [the scrolls that Mi] Yuanzhang presented to the emperor when he [was serving at court]
as an Erudite of Painting and Calligraphy, as described in the Conduct Description of [Mi]
Yuanzhang, which says “the precious pictures and famous paintings [in Mi Fu’s collection] had
to be judged by imperial scrutiny.”4 Last is the seal of Zhu Xiangxuan [Zhu Dashao, 1517–1577],
an official from my home district, who was fond of antique [objects] and had a good eye.5 This
picture is the best painting by Mi [Fu] that I have seen. [Dong] Qichang.
Signature: 其昌
Date: none (ca. 1611–13; see note 7)
Seals: none
2. Left side. Dimensions: 75.4 x 13.6 cm
4 columns, running script 光祿澈如吳年丈，屬余作《雲起樓圖》卷、軸、團扇共三
幀。余未愜意，以此圖貽之。又欲為補趙文敏《汲長孺傳》，合成雙美。澈如以文章氣節
名世，非古人名蹟，何足為雲起樓重也？董其昌。
My senior Wu Cheru [Wu Zhengzhi], [vice director] in the Ministry of Rites, enjoined me to
paint three depictions of his Pavilion of Rising Clouds; a handscroll, a hanging scroll, and a
circular fan. As I was not pleased [with the results], I am giving him this painting [instead], and
will add to it [a transcription of] The Biography of Ji Changru [in the calligraphy] of Zhao
Wenmin [Zhao Mengfu, 1254–1322], for together they will make a beautiful pair.6 Cheru is
famous in the world for the moral integrity of his literary writings, so if it is not a famous work
by some master of the past, then how could [a painting or calligraphy] be important enough for
his Pavilion of Rising Clouds? Dong Qichang.
Signature: 董其昌
Date:
none (ca. 1611–13; see note 7)
Seals: (2)7
Zhizhigao rijiangguan『知制誥日講官』(rectangle intaglio)
Dong Qichang yin『董其昌印』(square intaglio)
Abstract
8 Total
Collector seals: (7)
1. Ke Jiusi 柯九思 (1290–1343) – (1)
Danqiu Ke Jiusi zhang『丹丘柯九思章』(square relief) – lower left
2. Zhu Dashao 朱大韶 (1517–1577) – (1) – (see note 5)
Zhu-x mi-x『朱□祕□』(square relief; top half) – lower right
3. Song Jun 宋俊 (active mid- to late17th century) – (1)
Changbai Junqi『長白俊啟』(square relief/intaglio) – upper left
4. Isaac Taylor Headland (He Delan 何德,蘭, 1859–1942)8
– (1)
He Delan yin『何德蘭印』(square relief) – left edge
5. Unidentified – (3)
Sanwan liuqian langganshi jiancang shuhua yin『三萬六千琅玕室鑑藏書畫印』(square
relief) – upper left
Hanhongtang yin『涵鴻堂印』(square relief) – upper left
Xingdong yi zi Shisheng『星東一字石生』(square relief) – upper left
Mounter seal: (1) – Kinoshita Yokichi 木下与吉 (20th century)9
– (1)
Kinoshita sakuhin『木下作品』(square intaglio) – back of panel, separate paper slip
Collector seals: (7)
1. Ke Jiusi 柯九思 (1290–1343) – (1)
Danqiu Ke Jiusi zhang『丹丘柯九思章』(square relief) – lower left
2. Zhu Dashao 朱大韶 (1517–1577) – (1) – (see note 5)
Zhu-x mi-x『朱□祕□』(square relief; top half) – lower right
3. Song Jun 宋俊 (active mid- to late17th century) – (1)
Changbai Junqi『長白俊啟』(square relief/intaglio) – upper left
4. Isaac Taylor Headland (He Delan 何德,蘭, 1859–1942)8
– (1)
He Delan yin『何德蘭印』(square relief) – left edge
5. Unidentified – (3)
Sanwan liuqian langganshi jiancang shuhua yin『三萬六千琅玕室鑑藏書畫印』(square
relief) – upper left
Hanhongtang yin『涵鴻堂印』(square relief) – upper left
Xingdong yi zi Shisheng『星東一字石生』(square relief) – upper left
Mounter seal: (1) – Kinoshita Yokichi 木下与吉 (20th century)9
– (1)
Kinoshita sakuhin『木下作品』(square intaglio) – back of panel, separate paper slip
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1908.171
References
Yun Shouping 惲壽平 (1633–1690). Nantian huaba 南田畫跋. Shanghai: Tongwen tushuguan,
1915). 10a-b.
Fang Xun 方薰 (1736–1799). Shanjingju hualun 山靜居畫論. In Yang Jialuo 楊家駱, ed. Yishu
congbian 藝術叢編. Taibei: Shijie shuju, 1962. Vol. 15, 149.
Li Zuoxian 李佐賢 (1807–1876). Shuhua jianying 書畫鑑影. Lijin 利津: Shiquan shuwu 石泉書
屋, 1871. 19:13b–15a..
Re: Mi Fu and painting
Headland, Isaac Taylor (1859–1942). Catalogue of an Exhibition of Chinese Paintings from the
collection of Isaac Taylor Headland. April 15–30, 1908. Pittsburgh: The Art Society, 1908. P. 5.
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. Pp. 26–27, no. 34.
Sirén, Osvald (1879–1966). Chinese Paintings in American Collections. 5 vols. Paris and
Brussels: G. van Oest, 1928. Vol. 1, plate 26.
__________. A History of Early Chinese Painting. 2 vols. London: The Medici Society, 1933.
Vol. 2, plate 6.
__________. Kinas konst under tre årtusenden. 2 vols. Stockholm: Natur och kultur, 1942–43.
Vol. 2, plate 58.
__________. Chinese Painting; Leading Masters and Principles. 7 vols. New York: Ronald
Press Co., 1956–58. Vol. 2, 77 (discussion) and vol. 3, plate 188.
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 91.
Fischer, Otto (1886–1948). Chinesische landschaftsmalerei. Berlin: Paul Neff Verlag, 1943.
Plate 58.
Bachhofer, Ludwig (1894–1976). A Short History of Chinese Art. New York: Pantheon, 1946.
Plate 112.
Cohn, William (1880–1961). Chinese Painting. London: Phaidon Press: New York, Oxford
University Press, 1948. Plate 57.
Munsterberg, Hugo (1916–1995). A Short History of Chinese Art. New York: Philosophical
Library, 1949. Plate 37.
__________. The Landscape Painting of China and Japan. Rutland VT & Tokyo: Charles E.
Tuttle, 1955. Plate 27.
Loehr, Max (1903–1988). “Apropos of Two Paintings Attributed to Mi Yu-jen.” In Ars
Orientalis 3 (1959): 167–73, plate 3.
__________. The Great Painters of China. Oxford: Phaidon Press, 1980. Pp. 159–61 (fig. 78).
Lee, Sherman (1918–2008). A History of Far Eastern Art. New York: Abrams, 1964. P. 349 (fig.
454).
__________. “The Freer’s Studies in Connoisseurship.” In Art Journal 44.1 (Spring 1984): 66
Ho, Wai-kam (1924–2004). “Mi Fei.” In Encyclopedia of World Art. 14 vols. New York:
McGraw-Hill Book Co., 1965. Vol. 10, 84–90 and plate 61.
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. 74 (plate 57) and 145.
Watson, William (1917–2007). Art of Dynastic China. New York: Abrams, 1981. Plate 483.
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, 189 (A21–007).
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. 26.
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. 243 (fig. 12).
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. 74–77 and 260 (no. 16).
Re: Huizong, Dong Qichang, and Wu Zhengzhi
Huang Guan (K. S. Wong) 黃觀. “Wu Zhiju yu Yunqilou” 《吳之矩與雲起樓》. In Mingbao
yuekan 明報月刊 113 (May 1975): 42–5.
Kohara Hironobu 古原宏伸. Tō Kichō no shoga 董其昌の書畫. Tokyo: Nigensha, 1981. Plate
89 and p. 278.
Nakata Yūjirō 中田勇次郎 (1905–1998) and Fu Shen 傅申. Ōbei shuzō: Chūgoku hōsho
meisekishū, Min Shin hen (Masterpieces of Chinese Calligraphy in American and European
Collections, Ming and Qing) 歐米收藏：中國法書名蹟集，明清篇. 2 vols. Tokyo:
Chūōkōron-sha, 1983. Vol. 2, 131–32.
Riely, Celia Carrington. “Tung Ch’i-ch’ang’s Life.” In Wai-kam Ho and Judith G. Smith, eds.
The Century of Tung Ch’i-ch’ang, 1555–1636. 2 vols. Seattle: The Nelson-Atkins Museum of Art
in association with the University of Washington Press, 1992. Vol. 2, 411–15 and 448–50, notes
257–88.
__________. “Tung Ch’i-ch’ang’s Seals.” In Wai-kam Ho and Judith G. Smith, eds. The Century
of Tung Ch’i-ch’ang. Vol. 2, 220 and 307–8..
1915). 10a-b.
Fang Xun 方薰 (1736–1799). Shanjingju hualun 山靜居畫論. In Yang Jialuo 楊家駱, ed. Yishu
congbian 藝術叢編. Taibei: Shijie shuju, 1962. Vol. 15, 149.
Li Zuoxian 李佐賢 (1807–1876). Shuhua jianying 書畫鑑影. Lijin 利津: Shiquan shuwu 石泉書
屋, 1871. 19:13b–15a..
Re: Mi Fu and painting
Headland, Isaac Taylor (1859–1942). Catalogue of an Exhibition of Chinese Paintings from the
collection of Isaac Taylor Headland. April 15–30, 1908. Pittsburgh: The Art Society, 1908. P. 5.
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. Pp. 26–27, no. 34.
Sirén, Osvald (1879–1966). Chinese Paintings in American Collections. 5 vols. Paris and
Brussels: G. van Oest, 1928. Vol. 1, plate 26.
__________. A History of Early Chinese Painting. 2 vols. London: The Medici Society, 1933.
Vol. 2, plate 6.
__________. Kinas konst under tre årtusenden. 2 vols. Stockholm: Natur och kultur, 1942–43.
Vol. 2, plate 58.
__________. Chinese Painting; Leading Masters and Principles. 7 vols. New York: Ronald
Press Co., 1956–58. Vol. 2, 77 (discussion) and vol. 3, plate 188.
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 91.
Fischer, Otto (1886–1948). Chinesische landschaftsmalerei. Berlin: Paul Neff Verlag, 1943.
Plate 58.
Bachhofer, Ludwig (1894–1976). A Short History of Chinese Art. New York: Pantheon, 1946.
Plate 112.
Cohn, William (1880–1961). Chinese Painting. London: Phaidon Press: New York, Oxford
University Press, 1948. Plate 57.
Munsterberg, Hugo (1916–1995). A Short History of Chinese Art. New York: Philosophical
Library, 1949. Plate 37.
__________. The Landscape Painting of China and Japan. Rutland VT & Tokyo: Charles E.
Tuttle, 1955. Plate 27.
Loehr, Max (1903–1988). “Apropos of Two Paintings Attributed to Mi Yu-jen.” In Ars
Orientalis 3 (1959): 167–73, plate 3.
__________. The Great Painters of China. Oxford: Phaidon Press, 1980. Pp. 159–61 (fig. 78).
Lee, Sherman (1918–2008). A History of Far Eastern Art. New York: Abrams, 1964. P. 349 (fig.
454).
__________. “The Freer’s Studies in Connoisseurship.” In Art Journal 44.1 (Spring 1984): 66
Ho, Wai-kam (1924–2004). “Mi Fei.” In Encyclopedia of World Art. 14 vols. New York:
McGraw-Hill Book Co., 1965. Vol. 10, 84–90 and plate 61.
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. 74 (plate 57) and 145.
Watson, William (1917–2007). Art of Dynastic China. New York: Abrams, 1981. Plate 483.
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, 189 (A21–007).
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. 26.
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. 243 (fig. 12).
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. 74–77 and 260 (no. 16).
Re: Huizong, Dong Qichang, and Wu Zhengzhi
Huang Guan (K. S. Wong) 黃觀. “Wu Zhiju yu Yunqilou” 《吳之矩與雲起樓》. In Mingbao
yuekan 明報月刊 113 (May 1975): 42–5.
Kohara Hironobu 古原宏伸. Tō Kichō no shoga 董其昌の書畫. Tokyo: Nigensha, 1981. Plate
89 and p. 278.
Nakata Yūjirō 中田勇次郎 (1905–1998) and Fu Shen 傅申. Ōbei shuzō: Chūgoku hōsho
meisekishū, Min Shin hen (Masterpieces of Chinese Calligraphy in American and European
Collections, Ming and Qing) 歐米收藏：中國法書名蹟集，明清篇. 2 vols. Tokyo:
Chūōkōron-sha, 1983. Vol. 2, 131–32.
Riely, Celia Carrington. “Tung Ch’i-ch’ang’s Life.” In Wai-kam Ho and Judith G. Smith, eds.
The Century of Tung Ch’i-ch’ang, 1555–1636. 2 vols. Seattle: The Nelson-Atkins Museum of Art
in association with the University of Washington Press, 1992. Vol. 2, 411–15 and 448–50, notes
257–88.
__________. “Tung Ch’i-ch’ang’s Seals.” In Wai-kam Ho and Judith G. Smith, eds. The Century
of Tung Ch’i-ch’ang. Vol. 2, 220 and 307–8..
abstract
Traditionally attributed to Mi Fu (傳)米芾